THE  ART  of  THE  EXPOSITION 


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in  2016 


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THE  TOWER  IN  THE  COURT  OF  ABUNDANCE 

LOUIS  CHRISTIAN  MULLGARDT,  ARCHITECT 


THE  ART  of 
THE  EXPOSITION 

PERSONAL  IMPRESSIONS  OF  THE 
ARCHITECTURE,  SCULPTURE,  MURAL 
DECORATIONS,  COLOR  SCHEME  @ 
OTHER  AESTHETIC  ASPECTS 
OF  THE  PANAMA-PACIFIC 
INTERNATIONAL 
EXPOSITION 

By 

EUGEN  NEUHAUS 

UNIVERSITY  OF  CALIFORNIA 

CHAIRMAN  OF  THE  WESTERN 
ADVISORY  COMMITTEE  AND  MEMBER  OF 
THE  SAN  FRANCISCO  JURY  IN  THE 
DEPARTMENT  OF  FINE  ARTS 
OF  THE  EXPOSITION 


PAUL  ELDER  AND  COMPANY 
PUBLISHERS  SAN  FRANCISCO 


COPYRIGHT,  1915,  BY 
PAUL  ELDER  & COMPANY 
SAN  FRANCISCO 


Second  Edition,  Revised 


/ 


To  the 

Panama-Pacific  International  Exposition 
A Great  Work  of  Peace 
These  lines  are  appreciatively  dedicated 
May  the  First 


^9^5 


Publisher  s Announcement 

The  following  pages  have  grown  out  of  many 
talks  given  during  the  year  by  Mr.  Neuhaus  to  his 
students  at  the  University  of  California.  Pre- 
sented to  the  public  in  the  form  of  a series  of  evening 
lectures  at  the  University,  and  repeated  before  many 
other  organizations  throughout  California,  his 
interpretation  of  the  Art  of  the  Exposition  roused 
a demand  for  its  repetition  so  widespread  as  only 
to  be  met  by  the  aid  of  the  printing  press. 

San  Francisco,  California 
May  I,  IQI5 


CONTENTS 


PAGE 

THE  ARCHITECTURE  . 3 

The  architectural  scheme,  the  setting  and  the  style  of  the 
architecture. 

THE  SCULPTURE  . . . . . . . . . 26 

Its  relation  to  the  architecture,  its  artistic  meaning  and  its 
symbolism. 

THE  COLOR  SCHEME  AND  THE  LANDSCAPE 
GARDENING  ..........  48 

The  color  elements  as  furnished  by  the  artist  and  by  nature; 
the  horticultural  effects. 

THE  MURAL  DECORATIONS  .....  56 

The  intellectual  emphasis  of  the  color  scheme,  and  the  signi- 
ficance of  the  mural  decorations. 

THE  ILLUMINATION  — CONCLUSION  . . 69 

The  Exposition  at  night. 

APPENDIX 77 

Guide  to  Sculpture.  The  Mural  decorations.  Biographical 
notes. 


LIST  OF  ILLUSTRATIONS 

FACING  PAGE 

The  Tower  in  the  Court  of  Abundance.  Louis  Christian  Mull- 


gardt.  Architect.  {Frontispiece) 

Under  the  Arch  of  the  Tower  of  Jewels.  McKim,  Mead  and  WhitCy 

Architects 4 

View  Through  the  Great  Arches  of  the  Court  of  the  Universe. 

McKiniy  Mead  and  White y Architects 6 

Niche  Detail  from  the  Court  of  the  Four  Seasons.  Henry  Bacony 
Architect 8 


The  Court  of  the  Four  Seasons.  Henry  Bacony  Architect  ...  10 

Northern  Doorway  in  the  Court  of  Palms.  George  Kelhaniy  Architect  12 
Entrance  into  the  Palace  of  Education.  Bliss  and  FavilUy  Architects  14 
Detail  from  the  Court  of  Abundance.  Louis  Christian  Mullgardty 

Architect 16 

The  Palace  of  Fine  Arts.  Bernard  R.  Mayhecky  Architect  ...  18 

Colonnade,  Palace  of  Fine  Arts.  Bernard  R.  Mayheck,  Architect. 
Portal  of  Vigor  in  the  Palace  of  Food  Products  (in  the  dis- 
tance). Bliss  and  Favillcy  Architects  . 20 

Colonnade,  Palace  of  Fine  Arts.  Bernard  R.  Mayhecky  Architect  . 22 

The  Setting  Sun.  Adolph  A.  Weinmany  Sculptor 28 

The  Nations  of  the  West.  A.  Stirling  Caldery  Frederick  G.  R.  Rothy 

Leo  Lentelliy  Sculptors 30 

The  Mermaid.  Arthur  Putnanty  Sculptor  32 

The  Adventurous  Bowman  Supported  by  Frieze  of  Toilers — 
Details  from  the  Column  of  Progress.  Llermon  A.  MacNeily 

Sculptor 34 

The  End  of  the  Trail.  James  Earle  Frasery  Sculptor  . . . .36 

Autumn,  in  the  Court  of  the  Four  Seasons.  Furio  Piccirilliy  Sculptor  38 
The  Pacific — Detail  from  the  Fountain  of  Energy.  A.  Stirling 

Caldery  Sculptor 40 

The  Alaskan — Detail  from  Nations  of  the  West.  Frederick  G.  R. 

Rothy  Sculptor  42 

The  Feast  of  Sacrifice.  Albert  Jaeger Sy  Sculptor 44 

Youth — From  the  Fountain  of  Youth.  Edith  Woodman  Bur~ 

roughsy  Sculptor 46 

Truth — Detail  from  the  Fountain  of  the  Setting  Sun.  Adolph  A. 

Weinmany  Sculptor 48 

The  Star.  A.  Stirling  Caldery  Sculptor 5° 

The  Triton  — Detail  of  the  Fountain  of  the  Rising  and  the  Setting 

Sun.  Adolph  A.  Weinmany  Sculptor 52 

Finial  Figure  in  the  Court  of  Abundance.  Leo  Lentelliy  Sculptor  . 54 

Atlantic  and  Pacific  and  the  Gateway  of  all  Nations.  William 
de  Leftivich  Dodge y Painter 56 


[IX] 


THE  ILLUSTRATIONS 


FACING  PAGE 

Commerce,  Inspiration,  Truth  and  Religion.  Edward  Simmons, 


Painter  58 

The  Victorious  Spirit.  Arthur  F.  Matthews,  Painter  ....  60 

The  Westward  March  of  Civilization.  Frank  V.  Du  Mond,  Painter  62 
The  Pursuit  of  Pleasure.  Charles  Halloway,  Painter  ....  64 

Primitive  Fire.  Frank  Brangwyn,  Painter 66 

Night  Effect — Colonnade  of  the  Palace  of  Fine  Arts.  Bernard  R. 

Mayheck,  Architect 68 

Official  Poster.  Perham  W.  Nahl 92 

Ground  Plan  of  the  Exposition 94 


[x] 


THE  ART  of  THE  EXPOSITION 


THE  ARCHITECTURE 


IT  is  generally  conceded  that  the  essential 
lesson  of  the  Exposition  is  the  lesson  of  art. 
However  strongly  the  industrial  element  may 
have  asserted  itself  in  the  many  interesting 
exhibits,  no  matter  how  extensive  the  appeal 
of  the  applied  sciences  may  be,  the  final  and 
lasting  effect  will  be  found  in  the  great  and 
enduring  lesson  of  beauty  which  the  Exposition 
so  unforgetably  teaches. 

The  visitor  is  at  once  stirred  by  the  many 
manifestations  of  art,  presented  so  harmon- 
iously by  the  architect,  the  sculptor,  the  land- 
scape architect,  and  the  painter-decorator,  and 
his  attention  is  kept  throughout  by  artistic 
appeals  at  every  turn.  It  must  be  said  in  the 
very  start  that  few  will  realize  what  is  the 
simple  truth — that  artistically  this  is  probably 
the  most  successful  exposition  ever  created. 
It  may  indeed  prove  the  last.  Large  interna- 
tional expositions  are  becoming  a thing  of  the 
past  on  account  of  the  tremendous  cost  for 
relatively  temporary  purposes. 

There  is  still  much  of  the  popular  conception 
abroad  that  the  West  has  only  very  recently 
emerged  from  a state  of  semi-civilization  inimi- 
cal to  the  finer  things  of  life,  and  to  art  in 
particular.  But  we  may  rest  assured  that  the 
fortunate  outsider  who  allows  himself  the  luxury 

[3] 


THE  ARCHITECTURE 
of  travel  will  proclaim  that  the  gospel  of  beauty 
has  been  preached  most  eloquently  through  the 
Panama-Pacific  International  Exposition. 

The  critic  who  prefers  to  condemn  things 
will  find  small  opportunity  here,  no  matter  how 
seriously  he  may  take  himself. 

The  first  sight  of  that  great  mosaic,  from  the 
Fillmore-street  hill,  at  once  creates  a nerve- 
soothing  impression  most  uncommon  in  inter- 
national expositions,  and  for  that  matter,  in  any 
architectural  aggregate.  One  is  at  once  struck 
with  the  fitness  of  the  location  and  of  the  scheme 
of  architecture.  Personally,  I am  greatly  im- 
pressed with  the  architectural  scheme  and  the 
consistency  of  its  application  to  the  whole.  I 
fear  that  the  two  men,  Mr.  Willis  Polk  and  Mr. 
Edward  Bennett,  who  laid  the  foundation  for 
the  plan,  will  never  receive  as  much  credit  as  is 
really  due  them.  I hope  this  appreciation  may 
serve  that  purpose  in  some  small  way. 

It  was  a typically  big  western  idea,  an  idea 
that  as  a rule  never  gets  any  farther  than  being 
thought  of,  or  possibly  seeing  daylight  as  an 
“esquisse"’ — but  seldom  any  farther  than  that. 
The  Burnham  plan  for  San  Francisco  was  such 
an  unrealized  dream,  but  here  the  dream  has 
achieved  concrete  form.  The  buildings  as  a 
group  have  all  the  big  essential  qualities  that 
art  possesses  only  in  its  noblest  expression. 
Symmetry,  balance,  and  harmony  work  to- 
gether for  a wonderful  expression  of  unity,  of 
oneness,  that  buildings  devoted  to  profane  pur- 
poses seldom  show. 

I do  not  know  how  many  people  who  visit 
the  Exposition  are  so  constituted  as  to  derive 

[4] 


UNDER  THE  ARCH  OF  THE  TOWER  OF  JEWELS 

MC  KIM,  MEAD  AND  WHITE,  ARCHITECTS 


THE  ARCHITECTURE 

an  aesthetic  thrill  from  artistic  balance,  but  I 
imagine  that  any  person,  no  matter  how  inex- 
perienced in  matters  of  art,  will  rejoice  at  the 
fine  feeling  of  orderly  arrangement  of  major 
forms  which  runs  through  the  entire  grouping. 
It  is  simplicity  itself,  and  it  serves  an  excellent 
practical  purpose,  enabling  one  to  visit  the 
Exposition  without  being  left  a nervous  wreck 
at  the  end. 

The  main  entrance  leads  one  into  the  physi- 
cal center  of  the  Exposition.  From  there,  on 
the  first  visit,  one  realizes  the  existence  of  an 
equally  large  area  on  either  side,  covered  with 
objects  of  interest. 

The  main  exposition,  composed  of  a com- 
pactly arranged  group  of  large  buildings  of 
approximately  equal  size,  is  symmetrically  placed 
on  either  side  of  the  main  central  court,  the 
Court  of  the  Universe.  This  sends  out  its  ave- 
nues into  two  equally  proportioned  side  courts 
— the  Court  of  the  Four  Seasons  on  the  west 
and  the  Court  of  Abundance  on  the  east.  While 
the  main  court  rests  right  in  the  center  of  the 
eight  buildings,  the  side  courts  fit  snugly  into 
the  center  of  the  four  buildings  on  either  side. 
This  arrangement  of  large  masses,  comprising 
the  bulk  of  the  Exposition,  creates  a grateful 
feeling  of  repose  and  of  order,  without  being  in 
the  least  uninteresting,  for  while  there  is  perfect 
symmetry,  on  the  one  hand,  in  the  larger  masses, 
there  is  plenty  and  ever  changing  variety  in  the 
minor  architectural  forms  and  embellishments. 
The  same  balance,  the  same  interesting  distri- 
bution of  architectural  masses,  continues  on 
either  side  of  the  main  building.  In  Machinery 

[5] 


THE  ARCHITECTURE 
Hall,  on  the  one  hand,  and  the  Fine  Arts  Palace 
on  the  western  side,  perfect  balance  is  again 
maintained.  That  is,  however,  not  the  end  of 
it  all.  Loosening  up  in  a very  subtle  way,  we 
find  cleverly  arranged  the  buildings  of  the 
various  States  of  the  Union  and  of  Foreign 
Nations  on  the  western  side  of  the  Fine  Arts 
Palace,  while  at  the  other  extremity  of  the  main 
group,  screened  by  Machinery  Hall,  is  the 
amusement  section,  officially  labelled  ‘‘The 
Zone.’’ 

I do  not  suspect  that  the  Zone  is  intended  to 
give  any  artistic  thrills.  If  so,  I would  propose 
to  call  it  “The  Limit,”  and  so  I drop  it  as  a 
subject  for  further  artistic  reference.  It  is  in- 
valuable, however,  as  an  object  lesson  in  showing 
the  fatal  results  of  the  utter  disregard  of  all 
those  fundamental  laws  of  balance,  harmony, 
and  unity  so  uniformly  and  persistently  applied 
through  the  seriously  designed  main  body  of 
the  Exposition.  There  is  no  harmony  whatever 
in  the  Zone  anywhere,  either  in  the  form,  style, 
or  color,  unless  it  be  the  harmony  of  ugliness 
which  is  carried  through  this  riotous  melee  of 
flimsiness  and  sham.  I cannot  help  but  feel 
that  this  hodge-podge  will  convince  the  most 
doubting  Thomas  who  might  believe  in  the  mob 
rule  of  hundreds  of  conflicting  tastes.  The 
Zone  is  not  an  improvement  on  similar  things  in 
former  Expositions.  Save  for  certain  minor 
exceptions  at  the  entrance,  it  will  serve  as  a 
wonderfully  effective  illustration  of  the  taste  of 
the  great  masses  of  the  people,  and  as  a fine 
business  investment. 

So  far,  we  have  moved  only  along  the  east 
and  west  axis  of  the  Exposition.  The  north  and 
[6] 


VIEW  THROUGH  THE  GREAT  ARCHES  OF  THE  COURT  OF 
THE  UNIVERSE 

MC  KIM,  MEAD  AND  WHITE,  ARCHITECTS 


THE  ARCHITECTURE 

south  development  is  not  without  its  charm. 
The  terraced  city  of  San  Francisco,  on  the  south, 
without  a doubt  looks  best  on  a densely  foggy 
day.  With  its  fussy,  incongruous  buildings — 
I hesitate  to  call  them  architecture — it  serves 
hardly  as  a background  for  anything,  let  alone 
a group  of  monumental  buildings.  The  opposite 
side,  where  nature  reigns,  atones  for  multitudes 
of  sins  that  man  committed  on  the  city’s  hills. 
But  how  great  an  opportunity  there  was  lost! 
There  are,  however,  some  indications  at  the 
western  end  of  Broadway  that  give  fine  promise 
for  the  future. 

The  bay  and  its  background  of  rising  hills 
and  blue  mountain  sides  provide  the  wonderful 
setting  that  so  charmingly  holds  the  Exposition. 
The  general  arrangement  of  the  Exposition  pays 
its  respects  to  the  bay  at  every  possible  angle. 
The  vistas  from  the  three  courts  towards  the 
bay  are  the  pieces  de  resistance  of  the  whole 
thing.  It  was  a fine  idea,  not  alone  from  an 
economic  point  of  view,  to  eliminate  the  two 
arches  which  appeared  in  the  original  plan  at 
the  end  of  the  avenues  running  north  from  the 
Court  of  the  Four  Seasons  and  the  Court  of 
Abundance.  There  is  hardly  anything  more 
inspiring  than  to  stand  in  any  of  the  three  courts 
and  to  look  north  through  those  well  propor- 
tioned colonnades  over  the  blue  bay  towards  the 
purple  foothills  of  Marin  County,  crowned  by 
the  graceful  slopes  of  Mount  Tamalpais  on  one 
side  and  the  many  islands  of  the  bay  on  the  other. 
It  is  surprising  into  how  many  enchanting  vistas 
the  whole  arrangement  resolves  itself,  t or  the 
city-planner  the  Exposition  contains  a wonderful 

[7] 


THE  ARCHITECTURE 
lesson.  What  fine  cities  we  might  have  if  some 
artistic  control  could  be  exercised  over  the  build- 
ings which  are  to  stand  opposite  the  junction 
of  one  street  with  another,  not  only  at  right 
angles,  but  also  at  lesser  degrees — for  instance, 
in  all  cases  of  streets  running  into  Market  street 
from  the  northwest. 

To  point  out  some  particularly  fine  vistas, 
among  many,  we  should  mention  that  from 
the  Orchestral  Niche  in  the  Court  of  the  Four 
Seasons,  looking  toward  the  bay,  or  from  the 
same  court  toward  the  Fine  Arts  Palace — and 
many  more.  The  natural  background  seems  to 
have  been  considered  always,  even  in  the 
arrangements  of  the  smallest  apertures.  One 
should  not  overlook  the  two  open  courts  which 
run  off  the  main  avenue,  like  charming  coves  in 
an  island,  into  the  main  group  of  buildings, 
connecting  at  their  ends  with  the  Court  of  the 
Four  Seasons  at  the  west  and  the  Court  of 
Abundance  toward  the  east.  These  two,  the 
Court  of  Palms  and  the  Court  of  Flowers,  have 
not  so  much  the  charm  of  seclusion  of  the  more 
centrally  located  courts,  but  their  architecture 
makes  them  of  great  interest. 

As  to  the  style  of  the  architecture  of  the 
main  group  of  eight  buildings,  it  has  been  called 
classic.  If  one  means  by  that  something  ex- 
cellent, something  in  good  taste,  we  must  admit 
that  it  is  classic  indeed.  However,  on  closer 
examination  it  becomes  very  evident  that  the 
individuality  of  many  men  has  found  expression 
in  the  architectural  structural  forms,  as  well  as 
in  the  minor  and  decorative  forms. 

The  main  Tower  of  Jewels,  by  Carrere  and 
Hastings,  marking  the  center  of  the  whole 

[8] 


NICHE  DETAIL  FROM  THE  COURT  OF  THE  FOUR  SEASONS 

HENRY  BACON,  ARCHITECT 


THE  ARCHITECTURE 

scheme,  has  a distinct  character  of  its  own. 
There  is  no  doubt  that  it  is  effective,  but  while 
its  chief  merit  lies  in  its  colossal  proportions  and 
its  relative  position,  I feel  that  it  lacks  that  one- 
ness of  conception  that  characterizes  almost 
every  other  architectural  unit  in  the  Exposition. 
One  feels  too  much  the  stacking  up  of  story 
after  story,  that  effort  to  fill  the  requirements 
of  a given  great  height,  very  much  as  a boy 
sets  up  blocks  of  diminishing  size,  one  on  top 
of  the  other,  until  he  can  go  no  further  because 
there  are  no  smaller  block^s.  The  whole  effect 
of  the  tower  is  too  static.  Of  its  architectural 
motives,  almost  too  many  seem  devoid  of  much 
interest,  and  like  the  column  motive,  repeated 
too  often.  The  very  effective  and  decorative 
employment  of  ‘‘jewels"’  tends  to  loosen  up  and 
enliven  the  structure  very  much.  On  a sunny 
day  the  effect  is  dazzling  and  joyous.  The 
tower  has  a feeling  of  dignity  and  grandeur, 
commensurate  with  its  scale  and  setting.  How- 
ever, its  great  height  is  not  apparent,  owing 
largely  to  its  breadth  of  base.  The  Sather 
Campanile  in  Berkeley  looks  higher,  though  it 
is  actually  one  hundred  and  thirty-three  feet 
lower.  The  side  towers  at  the  entrances  of  the 
Court  of  Palms  and  the  Court  of  Flowers,  while 
not  so  imaginative  as  the  main  tower,  are  far 
more  sky-reaching.  As  towers  go,  John  Galen 
Howard’s  tower  at  the  Buffalo  Exposition  in 
1901  stands  unsurpassed  in  every  way  as  an 
Exposition  tower. 

The  main  Court  of  Honor,  or  Court  of  the 
Universe,  as  it  is  also  called,  designed  by  McKim, 
Mead  and  White,  impresses  by  its  tremendous 

[9] 


THE  ARCHITECTURE 
dimensions,  which  operate  somewhat  against  its 
proper  enjoyment.  I believe  that  the  court  is 
too  large — so  many  things  are  lost  in  it,  and  it 
does  not  convey  the  quality  of  shelter  that  the 
two  lesser  courts  possess  in  such  marked  degree. 
The  Court  of  the  Universe  will  never  be  the 
resting  place  of  the  masses  of  the  people,  in 
spite  of  the  recently  added  attraction  of  the 
band  stand,  a mixture  of  Roman  and  Arabic 
architecture  out  of  keeping  with  the  surround- 
ings. The  conventional  architectural  motives  of 
this  great  court  do  not  help  very  much  in  tempt- 
ing one  to  stay,  and  if  it  were  not  for  the  great 
arches  on  the  east  and  west  and  the  very  fine 
view  toward  the  Column  of  Progress,  I would 
feel  tempted  to  classify  it  as  a piece  of  archi- 
tectural design  of  the  stereotyped  variety.  It 
has  all  the  great  qualities  and  faults  of  the  court 
in  front  of  St.  Peter’s  in  Rome.  There  is  too 
little  play  of  landscape  gardening  in  and  near 
the  Court  of  the  Universe,  a condition  which 
will  remedy  itself  with  the  breaking  into  bloom 
of  the  great  masses  of  rhododendron  which  have 
been  installed  in  the  sunken  garden  in  the  center. 

Like  all  careful  interpretations  in  the  classic 
architectural  traditions,  the  Court  of  the  Uni- 
verse has  a great  feeling  of  dignity  and  grandeur, 
which  gives  the  visitor  a feeling  of  the  big  scale 
of  the  rest  of  the  architecture.  The  court  lacks, 
however,  the  individual  note  of  the  two  side 
courts. 

Toward  the  west,  passing  through  a very  char- 
acteristic avenue,  in  the  style  of  the  happiest 
phases  of  the  Italian  Renaissance  to  be  found 
in  Florence,  one  enters  the  Court  of  the  Four 
[10] 


c 

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5 ^ ^ 

H “ O 

n o Z 

H O CO 


THE  ARCHITECTURE 

Seasons,  by  Henry  Bacon  of  New  York.  The 
chief  quality  of  this  court  is  that  of  intimacy. 
While  by  no  means  so  original  as  the  Court  of 
Abundance,  it  has  a charm  all  of  its  own,  in 
spite  of  its  conventional  architectural  character- 
istics, which  are  really  not  different  from  those 
of  the  main  Court  of  Honor.  However,  a very 
happy  combination  of  gardening  effects  and 
architecture,  together  with  the  interesting  wall- 
fountains,  screened  by  stately  rows  of  columns, 
make  for  a picture  of  great  loveliness.  Of  all 
the  courts,  it  has  the  most  inviting  feeling  of 
seclusion.  The  plain  body  of  water  in  the  center, 
without  statuary  of  any  kind,  is  most  effective 
as  a mirror  reflecting  the  play  of  lights  and 
shadows,  which  are  so  important  an  asset  in  this 
enchanting  retreat.  During  the  Exposition  it 
will  serve  as  a recreation  center  for  many  people 
who  will  linger  in  the  seclusion  of  the  groups  of 
shrubbery  and  watch  the  shadows  of  the  after- 
noon sun  creep  slowly  up  the  surrounding  walls. 

As  an  Exposition  feature,  the  Court  of  the 
Four  Seasons  is  a decided  innovation.  At 
St.  Louis,  for  instance,  in  1904,  everything 
seemed  to  have  been  done  to  excite,  to  over- 
stimulate, to  develop  a craving  for  something 
new,  to  make  one  look  for  the  next  thing.  Here, 
in  the  Court  of  the  Four  Seasons,  one  wants  to 
stay.  Most  emphatically  one  wants  to  rest  for 
awhile  and  give  one’s  self  over  entirely  to  that 
feeling  of  liberation  that  one  experiences  in  a 
church,  in  the  forest,  or  out  on  the  ocean.  I 
could  stay  in  this  court  forever.  To  wander 
into  this  Court  of  the  Four  Seasons  from  any 
one  of  the  many  approaches  is  equally  satis- 

[11] 


THE  ARCHITECTURE 
factory,  and  it  will  prove  a very  popular  and 
successful  Exposition  innovation. 

Speaking  of  the  courts,  one  is  bound  to  yield 
to  the  individual  note  of  Louis  Mullgardt's 
Court  of  Abundance,  on  the  east  of  the  Court  of 
the  Universe.  Of  all  the  courts  it  has,  without 
a doubt,  the  strongest  individual  note.  It  seems 
on  first  acquaintance  to  be  reminiscent  of  the 
Gothic,  of  which  it  has,  no  doubt,  the  quality  of 
lightness,  the  laciness,  and  the  play  of  many 
fine  apertures  and  openings.  It  has,  however, 
neither  the  Gothic  arch  nor  the  buttresses  of 
that  period,  and  so  far  as  its  ground  plan  goes, 
it  is  thoroughly  original.  It  looks  as  if  carved 
out  of  a solid  block  of  stone.  This  monolithic 
quality  is  particularly  well  brought  out  in  the 
tower  on  the  north.  While  not  quite  so  intimate 
as  the  Court  of  the  Four  Seasons,  it  conveys  a 
feeling  of  shelter  and  seclusion  very  well  by 
showing  an  uninterrupted  wall  motive  on  all 
sides.  The  sculpture  symbolism  of  this  court  is 
particularly  fine.  We  shall  return  to  it  in  a 
consideration  of  sculpture. 

The  two  minor  courts  by  George  Kelham 
are  particularly  fortunate  in  their  open  location 
toward  the  south.  Their  sheltered  and  warm 
atmosphere  is  quite  in  keeping  with  the  sugges- 
tion of  Spanish  Renaissance  which  has  been 
employed  in  the  constructive  and  in  the  many 
decorative  motives.  The  western  court,  or 
Court  of  Palms,  is  made  particularly  attractive 
by  a sunken  garden  effect  and  pool.  The  effect 
of  the  Court  of  Flowers  is  similar  in  every  way 
to  its  mate  on  the  east. 


[12] 


NORTHERN  DOORWAY  IN  THE  COURT  OF  PALMS 

GEORGE  W.  KELHAM,  ARCHITECT 


THE  ARCHITECTURE 

A consideration  of  these  two  courts,  with 
their  towers,  leads  easily  into  a study  of  the 
outer  fagade,  which,  so  to  speak,  ties  all  of  the 
eight  Palaces  together  into  a compact,  snug 
arrangement,  so  typical  of  the  Exposition. 

Bliss  and  Faville  of  San  Francisco  are  respon- 
sible for  the  very  skillful  use  of  simple,  plain 
surfaces,  accentuated  and  relieved  here  and  there 
by  ornate  doorways,  wall-fountains,  niches,  and 
half-domes.  On  the  south,  along  the  Avenue  of 
Palms,  are  found  some  very  fine  adaptations  of 
old  Spanish  doorways,  which  deserve  to  be  pre- 
served. It  is  regrettable  that  we  have  no  large 
museum  on  the  coast  where  these  fine  doorways 
in  the  outer  walls  of  the  Palace  of  Varied  Indus- 
tries could  be  preserved  permanently.  The 
travertine  marble  has  nowhere  been  used  more 
effectively  than  in  just  such  details.  The 
entrance  of  the  Palace  of  Education  at  the 
western  end  of  the  south  fagade  is  also  of  great 
beauty  of  design. 

On  the  western  end  two  huge  niches  or  half- 
domes command  attention  by  their  noble  beauty 
and  fine  setting  amidst  great  clumps  of  euca- 
lyptus. On  the  north,  no  special  effort  has  been 
made.  There  is,  however,  a decorative  emphasis 
of  the  doorways  along  the  entire  front.  On  the 
east,  facing  the  Palace  of  Machinery,  some  very 
fine  doorways,  very  much  like  some  of  the  minor 
ones  on  the  south,  furnish  the  decoration.  It 
was  no  small  task  to  bridge  the  many  diversified 
architectural  motives  which  penetrate  into  the 
outer  wall  from  within,  in  the  shape  of  many 
avenues  and  courts,  and  one  can  appreciate  the 
difficulties  of  the  designer  who  met  so  well  these 
conflicting  requirements. 


[13] 


THE  ARCHITECTURE 
Of  the  detached  palaces  outside  of  the  eight 
forming  the  rectangular  block  nucleus,  the 
Palace  of  Machinery  attracts  by  its  enormous 
size.  I am  not  interested  in  how  many  kegs  of 
nails  and  iron  bolts  and  washers  went  into  its 
anatomy.  They  add  nothing  to  the  artistic 
enjoyment  of  this  very  massive  building.  One 
point,  however,  in  connection  with  the  liberal 
use  of  the  raw  material  is  of  artistic  significance, 
and  that  is  that  the  internal  structural  aspects 
of  this  great  palace,  as  well  as  of  the  others,  are 
not  without  charm  and  interest.  It  is  only  in 
recent  years,  and  particularly  in  America,  that 
the  engineer  has  dared  to  invade  the  realm  of 
the  artist  by  attempting  to  make  the  construct- 
ive, anatomical  material,  like  uprights,  bracings, 
trusses,  and  beams,  assume  artistic  responsibil- 
ities. It  has  been  for  many  years  the  custom  to 
expect  the  engineer  to  do  his  share  in  obscurity 
with  the  idea  that  it  ultimately  will  be  covered 
up  by  the  work  of  the  architect.  The  extraor- 
dinary development  of  engineering  in  this  coun- 
try, to  meet  new  and  original  problems,  some- 
times of  colossal  proportions,  particularly  in  the 
field  of  concrete  design,  has  resulted  in  some 
conditions  heretofore  entirely  unknown.  I feel 
with  much  satisfaction  that  the  unobscured 
appearance  of  the  wood  construction  in  the 
Palace  of  Machinery  is  very  pleasing,  owing  to 
its  sound  constructive  elements,  as  well  as  to  a 
very  fine  regard  for  pattern-making  in  the 
placing  of  the  bolts  and  braces.  Here  we  dis- 
cover the  engineer  in  the  role  of  the  artist, 
which  he  seems  to  enjoy,  and  which  offers  end- 
less new  opportunities,  particularly  in  the  field 
[14] 


ENTRANCE  INTO  THE  PALACE  OF  EDUCATION 

BUSS  AND  FAVILLE,  ARCHITECTS 


THE  ARCHITECTURE 

of  concrete  construction,  as  well  as  in  wood. 
The  great  size  of  the  Machinery  Palace  is  much 
more  enjoyable  from  within,  on  account  of  the 
constructive  patterns  left  in  the  raw,  than  from 
without,  where  there  is  not  enough  animation 
in  the  many  plain  surfaces  of  the  outer  walls. 
I do  not  know  that  it  is  customary  to  put  the 
engineer’s  name,  together  with  that  of  the 
architect,  on  a building;  the  time  is  approaching 
very  rapidly  when  we  shall  be  in  duty  bound  to 
do  so. 

Aside  from  the  structural  charm  of  the  inside, 
the  outer  fa§ade  of  Machinery  Hall  is  not  entirely 
devoid  of  architectural  interest.  Its  general 
forms  are  apparently  those  of  an  early  Christian 
church,  although  its  decorative  motives  are  all 
indicative  of  the  profane  purposes  for  which  it 
is  used. 

Festival  Hall,  by  Farquhar,  of  Los  Angeles, 
at  the  east  end  of  the  south  gardens,  does  not 
look  particularly  festive,  and  it  is  not  original 
enough  to  shine  by  itself,  like  its  very  happy 
mate  at  the  south  end,  the  Horticultural  Palace. 
There  is  nothing  like  this  Horticultural  Palace 
anywhere  on  the  grounds  in  its  gorgeous  richness 
of  decorative  adornment.  It  has  no  relation  to 
any  other  building  on  the  site.  It  is  very  happy, 
with  its  many  joyous  garlands,  flower-baskets, 
and  suggestions  of  horticultural  forms — all  very 
well  done — so  very  much  better  done  than  so 
many  of  the  cheap  period  imitations  so  common 
to  our  residence  districts.  It  is  so  decidedly 
joyous  in  character  that  people  looking  for  Fes- 
tival Hall  wander  over  to  the  Horticultural 
Palace,  attracted  by  the  very  joyousness  of  its 
scheme. 


[15] 


THE  ARCHITECTURE 

Good  rococo  ornamentation  is  rare  abroad 
and  even  rarer  in  this  country,  which  is  essen- 
tially opposed  in  its  tendencies  and  in  its  civili- 
zation to  those  luxurious  days  of  the  French 
kings  who  created  the  conditions  under  which 
this  very  delightful  style  could  flourish. 

The  Horticultural  Palace  is  a great  success 
as  an  interpretation  of  a style  which  rarely  finds 
a sympathetic  expression  in  this  country.  I do 
not  feel  at  all  that  it  ought,  but  in  a case  of  this 
kind  where  a temporary  purpose  existed,  it  was 
happily  chosen. 

Of  all  isolated  units,  none  causes  greater 
admiration  than  the  Fine  Arts  Palace.  It  pre- 
sents the  astounding  spectacle  of  a building 
which  violates  the  architectural  conventions  on 
more  than  one  occasion,  and  in  spite  of  it,  or 
possibly  for  that  very  reason,  it  has  a note  of 
originality  that  is  most  conspicuous.  Every- 
body admits  that  it  is  most  beautiful,  and  very 
few  seem  to  know  just  how  this  was  accom- 
plished. Many  of  the  “small  fry’’  of  the  archi- 
tectural profession  enjoy  themselves  in  picking 
out  its  faults,  which  are  really,  as  suggested 
above,  the  reason  for  its  supreme  beauty.  Save 
for  Mullgardt’s  court,  it  is  the  only  building  that 
seems  to  be  based  on  the  realization  of  a dream 
of  a true  artistic  conception.  With  many  other 
of  the  buildings  one  feels  the  process  of  their 
creation  in  the  time-honored,  pedantic  way. 
They  are  paper-designed  by  the  mechanical 
application  of  the  ‘‘T”  square  and  the  triangle. 
They  do  not  show  the  advantage  of  having  been 
experienced  as  a vision. 


[16] 


DETAIL  FROM  THE  COURT  OF  ABUNDANCE 

LOUIS  CHRISTIAN  MULLGARDT,  ARCHITECT 


THE  ARCHITECTURE 

With  Bernard  Maybeck’s  Palace  of  Fine 
Arts,  one  has  the  feeling  that  this  great  temple 
is  a realized  dream;  that  it  was  imagined  irre- 
spective of  time,  cost,  or  demand.  Like  all  of 
Maybeck’s  buildings,  it  is  thoroughly  original. 
Of  course  the  setting  contributes  much  to  the 
picturesque  effect,  but  aside  from  that,  the  col- 
onnades and  the  octagonal  dome  in  the  center  of 
the  semi-circular  embracing  form  of  the  main 
building  present  many  interesting  features 
There  is  a very  fine  development  of  vistas, 
which  are  so  provided  as  to  present  different 
parts  of  the  building  in  many  ever-changing 
aspects.  On  entering  the  outer  colonnade  one 
forgets  the  proximity  of  everyday  things;  one  is 
immediately  in  an  atmosphere  of  religious  de- 
votion, which  finds  its  noblest  expression  in  that 
delicate  shrine  of  worship,  by  Ralph  Stackpole, 
beneath  the  dome.  This  spiritual  quality  puts 
the  visitor  into  the  proper  frame  of  mind  for  the 
enjoyment  of  the  other  offerings  of  art  within  the 
building.  Mr.  Maybeck  has  demonstrated  once 
again  that  his  talent  is  equal  to  any  task  in  the 
field  of  architectural  art.  I wish  we  had  more 
of  his  rare  kind  and  more  people  to  do  justice 
to  his  genius. 

Not  far  from  the  Palace  of  Fine  Arts,  on  the 
shores  of  the  bay,  the  monumental  tower  of  the 
California  building  fits  well  into  the  scheme  of 
things.  Seen  from  a distance,  from  numerous 
points  across  the  lagoon,  it  offers  a great  many 
effective  compositions  in  connection  with  some 
very  decorative  groups  of  old  acacia  trees,  the 
legacy  of  an  old  amusement  park  of  the  bygone 
days  of  San  Francisco — the  old  Harbor  View 

[17] 


THE  ARCHITECTURE 
Gardens.  In  the  shade  of  these  old  trees  a fine 
old  formal  garden  of  exquisite  charm,  screened 
from  the  eyes  of  the  intruder  by  an  old  clipped 
Monterey  cypress  hedge,  really  constitutes  the 
unique  note  of  this  typically  Mission  building. 
The  architect,  Mr.  Burditt,  deserves  great  credit 
for  an  unusually  respectful  treatment  of  a very 
fine  architectural  asset.  This  very  enchanting 
old  flower  garden,  with  its  sundial  and  cozy 
nooks,  has  an  intimate  feeling  throughout,  and 
it  furnishes  the  delightful  suggestive  note  of  old 
age,  of  historical  interest,  without  which  it  would 
never  have  been  convincing. 

Aside  from  the  outdoor  features,  the  build- 
ing, exclusive  of  the  county  annex,  discloses  a 
very  fine  talent  in  a very  happy  combination  of 
classic  tradition  and  modern  tendencies.  The 
building  is  altogether  very  successful,  in  a style 
which  is  so  much  made  use  of  but  which  is  really 
devoid  of  any  distinct  artistic  merit.  Most  of 
the  examples  of  the  so-called  ‘'Mission  style’’ 
in  California  are  very  uninteresting  in  their 
decorative  motives,  however  big  their  ground 
plans  may  be  in  their  liberal  use  of  space. 

The  Oregon  building  is  just  across  the 
way  from  the  California  building,  and  as  an 
object  of  artistic  analysis  it  is  a most  interesting 
single  unit.  Personally,  I am  not  enthusiastic 
over  it.  It  was  most  decidedly  a very  illogical 
idea  to  select  a building  to  represent  Oregon 
from  a country  which  has  nothing  whatever  in 
common  with  this  northern  state.  One  could 
hardly  discover  a more  arid  country,  devoid  of 
vegetation,  particularly  of  trees,  than  Greece; 
and  to  compare  it  with  the  apparently  inex- 
[18] 


THE  PALACE  OF 
HNE  ARTS 


THE  ARCHITECTURE 

haustible  wealth  of  virgin  forests  of  Oregon 
makes  the  contrast  almost  grotesque.  Besides, 
a building  like  the  Parthenon,  designed  to  grace 
and  terminate  the  top  of  a hill,  is  surely  not 
adapted  for  a flat  piece  of  ground  like  the  Expo- 
sition field.  And  in  the  choice  of  material  used 
in  its  construction  it  shows  a lack  of  appreciation 
for  the  fitness  of  things  generally.  The  Par- 
thenon was  designed  to  be  made  in  stone,  as 
much  for  the  construction  as  for  the  light  color 
effect  of  the  marble.  Only  the  light  color  play 
of  its  exterior  would  do  against  a placid  blue 
sky  to  relieve  the  otherwise  exceedingly  simple 
rigidity  of  its  massive  forms  of  construction. 
To  make  an  imitation  of  this  great  building  in 
uncouth,  somber,  almost  black  pine  logs  of 
dubious  proportions  is  hardly  an  artistically 
inspired  accomplishment. 

There  must  always  be  a certain  regard  for 
the  use  of  the  right  material  in  the  right  place. 
A wooden  bridge  will  disclose  its  material  even 
to  the  uninitiated  at  a very  great  distance,  be- 
cause everybody  knows  that  certain  things  can 
be  done  only  in  wood.  A stone,  concrete,  iron, 
or  cable  bridge,  for  example,  will  each  always 
look  its  part,  out  of  sheer  material  and  structural 
necessity.  A log  house  would  have  been  far  better 
and  more  successful  than  this  pseudo  Parthenon. 
It  is  in  the  same  class  with  the  statues  of  Liberty 
made  from  walnuts  that  are  the  great  attractions 
in  our  autumnal  agricultural  shows.  The  State 
of  Oregon,  however,  is  well  represented  by  a fine 
immense  flagpole,  which  could  hardly  have  been 
cut  an5Twhere  else  than  on  the  Pacific  Coast. 


[19] 


THE  ARCHITECTURE 
Of  Other  state  buildings  in  this  neighborhood, 
a number  are  impressive  by  their  cost,  like  the 
New  York  building;  others,  again,  by  historical 
suggestions  of  great  charm.  There  are  several 
which  reflect  in  a very  interesting  way  the 
Colonial  days  of  early  American  history;  and 
buildings  like  those  of  New  Jersey  and  Virginia, 
in  spite  of  their  unpretentiousness,  are  very 
successful.  Nobody  would  take  them  for  any- 
thing else  but  what  they  represent. 

The  Pennsylvania  building  shows  a very  fine 
combination  of  the  classic  and  of  the  modern. 
It  was  originally  designed  to  hold  the  Liberty 
Bell.  In  order  to  avoid  the  necessity  of  building 
a fireproof  building,  the  open  hall  was  adopted, 
with  its  inviting  spaciousness,  and  two  lower 
enclosing  wings  at  the  side.  The  arrangement 
of  the  Pennsylvania  building  is  formal,  owing 
to  its  symmetry,  but  not  at  all  heavy.  Its 
decorative  detail  is  full  of  interest,  and  to  dis- 
cover Hornbostel  of  New  York,  the  designer  of 
the  Oakland  City  Hall,  as  the  author  of  this 
building,  is  a pleasant  surprise. 

Of  most  of  the  other  state  buildings,  really 
nothing  original  could  be  claimed.  They  are, 
on  the  whole,  dignified  in  their  classic  motives, 
and  in  most  cases,  in  better  taste  than  the  many 
foreign  buildings. 

Among  these,  the  buildings  representing 
Sweden,  Denmark,  Norway,  Italy,  and  Bolivia, 
must  claim  particular  attention.  It  must  seem 
strange  that  the  three  northern  countries  named 
first  should  excel  in  originality  of  architecture, 
as  well  as  in  the  allied  arts. 

The  Swedish  building,  designed  by  Alex- 
ander Boberg,  presents  admirably  his  great 
[20] 


COLONNADE,  PALACE  OF  FINE  ARTS 

BERNARD  R.  MAYBECK,  ARCHITECT 

PORTAL  OF  VIGOR  IN  THE  PALACE  OF  FOOD  PRODUCTS 

IN  THE  DISTANCE 
BLISS  AND  FAVILLE,  ARCHITECTS 


THE  ARCHITECTURE 

talent.  The  name  “Boberg’’  means  nothing  to 
most  people  out  here,  but  anybody  at  all 
familiar  with  the  development  of  modern  archi- 
tecture abroad  will  always  think  of  Boberg  as 
the  greatest  living  master  of  Swedish  architec- 
ture. His  very  talented  wife,  Anna  Boberg,  is 
equally  well  represented  in  another  department, 
that  of  the  Fine  Arts. 

The  plan  of  the  Swedish  building  is  unsym- 
metrical,  but  well  balanced,  nevertheless.  The 
typical  northern  wood  tower,  at  one  side,  has 
a very  fine  outline,  and  like  the  roof,  has  a very 
fine  decorative  shingle  covering,  interesting  in 
pattern  as  well  as  in  color.  I am  very  much 
tempted  to  speak  of  the  treasures  found  inside 
of  this  building,  but  we  must  go  on  to  Denmark’s 
building. 

This  building,  situated  near  the  southern  end 
of  the  Fine  Arts  Colonnade,  has  a far  more 
advantageous  location  than  the  Swedish  build- 
ing. Situated  on  a narrow  tongue  of  triangular 
shape,  the  architect  has  taken  the  fullest  advan- 
tage of  this  original  piece  of  ground.  The  build- 
ing gives  a very  good  idea  of  some  of  the  very 
best  tendencies  in  the  modern  art  of  Europe,  with- 
out being  bizarre,  like  some  recent  American  at- 
tempts in  the  most  wrongly  labeled  of  all  art 
expressions — the  ‘‘Art  Nouveau.” 

The  Norwegian  building,  somewhat  remotely 
situated,  back  of  the  French  building  and  near 
the  Presidio  entrance,  has  very  much  in  common 
with  the  Swedish  building,  and  offers  the  same 
attractive  features  of  wood  and  stone  construc- 
tion as  the  building  representing  its  sister  state. 
Historical  traditions  and  everything  else  are  so 

[21] 


THE  ARCHITECTURE 
much  alike  in  these  two  countries  that  it  must 
not  surprise  one  to  find  the  two  buildings  have 
so  many  points  of  interest  in  common. 

The  north  of  Europe  has  given  to  the  world 
many  very  excellent  and  genuine  expressions  of 
architecture,  which,  owing  to  their  fine  con- 
structive qualities,  have  been  absorbed  wherever 
wood  is  the  principal  building  material.  The 
art  contributions  of  Sweden,  Norway,  and  Den- 
mark will  long  remain  in  the  memory  of  all 
Exposition  visitors. 

Holland  makes  considerable  pretensions  as 
to  originality  of  style  in  a curiously  incongruous 
creation  at  the  north  of  the  Fine  Arts  Palace. 
During  the  last  twenty  years  a peculiarly  inad- 
aptable  type  of  building  has  been  developed  in 
Holland  by  a group  of  younger,  architects. 
Many  of  these  buildings  are  suggestive  of  stone 
rather  than  of  brick  construction,  and  they  do 
not  fit  in  very  well  into  the  architectural  tradi- 
tions of  the  Dutch — builders  traditionally  of  the 
finest  brick  structures  in  the  world. 

The  Holland  building  at  the  Exposition  is 
not  typical  of  that  great  and  independent  people. 
It  looks  cheap  and  has  all  the  faults  of  the  Art 
Nouveau,  which  has,  unfortunately,  been  much 
discredited  by  just  such  things  in  our  own 
country,  where  classical  traditions  are  so  firmly 
and  so  persistently  entrenched. 

While  structurally  this  building  is  of  a 
peculiar,  affected,  ultra-modern  note,  the  gen- 
eral scheme  of  decoration  inside  as  well  as  out- 
side compels  much  praise.  The  general  feeling 
of  refinement,  of  serenity,  that  so  strongly  char- 
acterizes the  interior  is  due  to  the  able  work  of 
[22] 


THE  ARCHITECTURE 

Hermann  Rosse,  a capable  decorator-painter, 
who  designed  and  supervised  the  entire  color 
scheme. 

The  color  scheme  inside  the  Holland  build- 
ing, while  daring,  is  most  original  in  using  an 
unusual  combination  of  steel-blue  and  warm 
grey  silver  tones.  These  two  relatively  cold 
notes  are  enhanced  in  a complementary  color 
sense  by  touches  of  orange  and  yellow.  A con- 
structive stencil  pattern  based  on  the  two 
national  plants  of  Holland,  the  orange  tree  and 
the  tulip,  add  richness  to  the  general  effect. 
Mr.  Rosse’s  very  decorative  wall  painting  oppo- 
site the  main  entrance  represents  the  Industries 
of  Peace.  While  somewhat  severe,  it  adds  dig- 
nity in  motive  as  well  as  in  treatment. 

On  the  outside  some  fine  decorative  tile 
panels  reflect  one  of  the  chief  industries  of  the 
Dutch  and  also  tell  of  the  influence  that  Dutch 
art  has  long  received  from  Holland’s  East  Indian 
possessions.  These  tile  panels  are  very  deco- 
rative. To  us,  out  here,  they  suggest  artistic 
ceramic  possibilities  for  architectural  purposes 
of  which  we  have  taken  little  advantage.  Con- 
sidering the  fact  that  we  have  quantities  of  good 
clay  and  that  so  much  original  good  decorative 
design  is  lying  idle,  this  inactivity  in  architec- 
tural ceramics  in  California  is  distressing.  So 
far  as  I know,  Batchelder,  in  Pasadena,  still  has 
the  monopoly  on  architectural  tiles  for  the 
entire  Pacific  coast. 

Other  European  countries  besides  Holland  are 
interestingly  represented.  The  Italian  building 
is  a dignified  building  of  pure  Florentine  Renais- 
sance lines,  with  here  and  there  a modern  note. 

[23] 


THE  ARCHITECTURE 

This  should  rather  be  called  a group  of 
buildings,  since  it  is  a combination  of  some  of 
the  finest  bits  of  Italian  Renaissance  archi- 
tecture. The  architects  of  this  building  suc- 
ceeded admirably  in  giving  a feeling  of  antiquity 
to  the  general  treatment  of  the  whole  arrange- 
ment, which,  under  the  blue  sky  of  California, 
brings  one  straight  back  into  the  land  of  sun- 
shine and  artistic  tradition.  The  whole  arrange- 
ment of  this  Italian  group  seems  somewhat 
bewildering  at  first,  but  on  closer  inspection 
resolves  itself  into  a very  interesting  scheme 
which  takes  full  advantage  of  the  irregularly 
shaped  site. 

There  is  a most  impressive  noble  dignity  in 
the  hall  of  the  main  building,  where  mural 
decorations  of  figural  character  add  much  to  the 
sumptuousness  of  the  general  effect.  It  is  re- 
markable how  in  this  age  of  low  ceilings  a re- 
turn to  great  height  for  rooms,  as  in  these 
Italian  chambers,  produces  a marked  note  of 
originality.  The  light  effect  created  in  this  way, 
in  all  of  these  replicas  of  the  mansions  of  the 
wealthy  of  the  Renaissance  period,  is  most 
helpful  in  the  display  of  a multitude  of  lovely 
objects — furniture,  jewelry,  ceramics,  tapestries, 
and  yet  more.  The  sculptural  imitations  of  so 
many  old  pieces  of  statuary  are  not  in  very  good 
taste.  They  bear  too  much  the  traces  of  the 
pneumatic  drill,  and  most  of  them  are  cold  and 
devoid  of  the  spirit  of  the  original.  Some  of  the 
very  modern  marbles  in  the  various  rooms  are 
almost  pathetic  in  their  disregard  for  the  stand- 
ards established  by  the  forefathers  of  their 
creators. 

[24] 


THE  ARCHITECTURE 

France,  unfortunately,  does  not  rise  above 
the  commonplace,  in  an  extensive  building  hast- 
ily constructed.  And  Portugal  is  shining  in  all 
the  glory  of  wedding-cake  ornamentation  that 
the  plaster  of  Paris  artist  could  produce. 

South  America  appears  in  a very  typical 
building  representing  Bolivia.  It  is  evident  that 
it  was  not  a costly  building,  but  its  dignified 
Spanish  fagade  and  the  court  effect  inside  are 
far  more  agreeable  than  the  pretentious  palace 
erected  by  the  Argentine  Republic. 

The  Orient,  with  the  oldest  art  traditions  in 
the  world,  can  justly  be  expected  to  outdo  the 
rest  of  the  world.  We  find  Japan  again,  as  on 
previous  occasions,  excelling  in  its  typical 
arrangement  of  a number  of  small  pavilions  in 
an  irregular  garden.  The  entire  Japanese  dis- 
play, architectural  and  all,  is  so  perfect  a unit 
that  one  cannot  speak  of  the  buildings  alone 
without  thinking  of  the  gardens.  The  Japanese 
sense  of  detail  and  love  of  the  picturesque  are 
disclosed  at  every  turn.  We  still  have  with  us 
in  San  Francisco,  as  a memento  of  the  Midwinter 
Fair  of  1894,  the  Japanese  Garden  in  Golden 
Gate  Park,  and  while  this  new  creation  at  the 
Exposition  is  not  so  extensive,  it  is  none  the  less 
charming. 

In  contrast  to  the  Japanese  wonderland  near 
the  Inside  Inn,  the  new  Republic  of  China  seems 
to  be  very  unhappily  represented,  not  very  far 
away.  The  whole  Chinese  ensemble  seems  a 
riot  of  terrible  colors,  devoid  of  all  the  mellow 
qualities  of  Oriental  art.  If  China’s  art  was 
retired  with  the  Manchu  dynasty,  then  I hope 
the  new  Republic  will  soon  die  a natural  death. 

[25] 


THE  SCULPTURE 


HE  sculptural  decorations  of  the  Expo- 


sition are  so  much  a part  of  the  archi- 
tectural scheme  that  their  consideration  must 
no  longer  be  delayed.  The  employment  of 
sculpture  has  been  most  judicious  and  has  never 
lost  sight  of  certain  architectural  requirements, 
so  frequently  overlooked.  While  there  are  a 
great  many  examples  of  sculptural  decorations 
at  the  Exposition,  there  does  not  seem  to  be  that 
over-abundance  of  ornamentation  so  often  con- 
fused by  the  public  with  artistic  effect. 

The  best  compliment  that  can  be  paid  to  the 
Exposition  sculpture  is  that  it  is  not  evident  at 
first  and  that  one  becomes  aware  of  it  only  in 
the  course  of  studying  the  architecture.  I do 
not  think  that,  with  the  exception  of  the  Column 
of  Progress  and  the  groups  of  the  Nations  of  the 
East  and  of  the  West,  the  Exposition  has  pro- 
duced, through  its  very  unusual  and  novel 
opportunities,  any  great  work,  or  presented  any 
new  talent  heretofore  not  recognized ; but  it  will 
most  certainly  stand  a critical  examination  and 
comparison  with  other  Exposition  sculpture 
and  not  suffer  thereby.  As  a matter  of  fact,  a 
number  of  the  sculptors  of  our  Exposition  were 
commissioned  to  do  similar  work  at  St.  Louis. 

In  one  respect  our  Exposition  must  imme- 
diately claim  originality — that  is,  in  the  elimi- 


[26] 


THE  SCULPTURE 

nation  of  the  glaring  white,  with  its  many  ugly 
and  distracting  reflected  lights,  insisted  upon  for 
years,  in  practically  all  the  great  expositions  of 
the  past.  This  absence  of  white  is  surely  a very 
novel  and  very  helpful  feature,  from  an  artistic 
point  of  view.  The  Travertine  staff  material 
used,  the  highly  successful  work  of  Mr.  Paul 
Denneville,  with  its  innumerable  fine  accidental 
effects,  so  reminiscent  of  the  tone  and  the 
weatherbeaten  qualities  of  really  old  surfaces,  is 
an  asset  that  the  sculptors  among  all  the  collabo- 
rating artists  gratefully  acknowledge. 

The  artistic  value  of  the  Travertine  lies  in 
its  beautiful  expression  of  architecture  as  well 
as  of  sculpture.  A plain  wall  becomes  a matter 
of  interest  and  comfort.  An  ornamental  feature 
or  sculpture  obtains  a wonderful  charm  and 
delicacy  in  this  material  which  is  particularly 
unique  in  sculpture.  The  natural  Travertine 
is  a sedimentary  deposit  dating  back,  it  is 
claimed,  to  the  glacial  ages.  That  imitated  here 
forms  the  bed  of  the  River  Tiber  near  Rome  and 
was  extensively  used  for  ages  in  the  early  Roman 
and  Greek  era  as  a building  stone  for  their 
temples  and  works  of  art.  While  a poor  material 
in  cold  climates,  because  of  its  striation,  it  was 
always  sought  in  Italy  for  its  wonderful  texture 
and  tone.  It  was  used  in  the  Coliseum  and  in 
many  other  buildings  erected  during  the  Roman 
period. 

It  is  evident  that  there  has  been  a very  happy 
and  close  co-operation  between  the  architect 
and  the  sculptor — a desirable  condition  that, 
unfortunately,  does  not  always  exist.  Archi- 
tects will  sometimes  not  allow  the  sculptor  to 

[27] 


THE  SCULPTURE 
give  full  expression  to  his  ideas,  will  put  unwar- 
ranted restrictions  upon  him,  and  the  result  is 
very  one-sided. 

I had  the  pleasure  of  seeing  much  of  the 
sculpture  grow  from  the  sketch  to  the  finished 
full-scale  work,  and  the  kindliness  and  the  vigor- 
ous personality  of  Mr.  Stirling  Calder  added 
much  charm  and  interest  to  this  experience. 
Mr.  Calder  has  been  the  director  of  the  depart- 
ment of  sculpture  and  the  inspiration  of  his  own 
work  penetrates  that  of  all  his  fellow-artists. 
Among  them  are  many  specialists,  such  as 
Frederick  Roth,  for  instance,  as  a modeler  of 
animals,  who  shows  in  the  very  fine  figure  of 
“The  Alaskan”  in  the  Nations  of  the  West  that 
he  is  not  afraid  nor  unable  to  model  human 
figures.  Practically  all  of  the  animals  in  the 
grounds  show  the  hand  of  Roth. 

Like  Roth,  Leo  Lentelli  did  a good  share 
of  the  task.  His  work  is  characterized  by 
much  animation  and  spirit,  but  well  balanced 
wherever  necessary,  by  a feeling  of  wise  restraint. 
I remember  with  much  horror  some  of  the  sculp- 
tural atrocities  of  former  expositions  that  seemed 
to  jump  off  pedestals  they  were  intended  to 
inhabit  for  a much  longer  period  than  they  were 
apparently  willing.  Repose  and  restraint,  as  a 
rule,  are  lacking  in  much  of  our  older  American 
sculpture,  as  some  of  our  Market-street  statuary 
testifies.  It  seems  that  our  unsettled  conditions 
find  an  echo  in  our  art.  It  is  much  to  be  hoped 
that  a certain  craving  for  temporary  excitement 
will  be  replaced  by  a wholesome  appreciation  of 
those  more  enduring  qualities  of  repose  and 
balance. 

[28] 


THE  SETTING  SUN 

ADOLPH  A.  WEINMAN,  SCULPTOR 


THE  SCULPTURE 

Calder’s  work,  no  matter  how  animated,  no 
matter  how  full  of  action,  is  always  reposeful. 
His  ‘‘Fountain  of  Energy”  gives  a good  idea 
of  what  I mean.  It  is  the  first  piece  of  detached 
sculpture  that  greets  the  Exposition  visitor. 
Its  position  at  the  main  gate,  in  the  South 
Gardens,  imjfront  of  the  Tower  of  Jewels,  is  the 
most  prominent  place  the  Exposition  offers. 
It  is  worthy  of  its  maker’s  talent.  Its  main 
quality  is  a very  fine,  stimulating  expression  of 
joyousness  that  puts  the  visitor  at  once  in  a 
festive  mood.  The  Fountain  of  Energy  is  a 
symbol  of  the  vigor  and  daring  of  our  mighty 
nation,  which  carried  to  a successful  ending  a 
gigantic  task  abandoned  by  another  great  re- 
public. The  whole  composition  is  enjoyable  for 
its  many  fine  pieces  of  detail.  Beginning  at  the 
base,  one  observes  the  huge  bulks  of  fanciful 
sea-beasts,  carrying  on  their  backs  figures  repre- 
senting the  four  principal  oceans  of  the  world: 
the  North  and  South  Arctic,  the  Atlantic,  and 
the  Pacific.  Some  are  carrying  shells  and  their 
attitudes  express  in  unique  fashion  a spirit  of 
life  and  energy  which  makes  the  whole  fountain 
look  dynamic,  in  contrast  with  the  static  Tower 
of  Jewels.  Everything  else  in  this  fountain 
has  the  dynamic  quality,  from  its  other  inhabi- 
tants of  the  lower  bowls,  those  very  jolly  sea- 
nymphs,  mermaids,  or  whatever  one  may  want 
to  call  them.  They  are  even  more  fantastically 
shaped  than  the  larger  figures.  In  their  bizarre 
motives  some  of  the  marine  mounts  look  like 
a cross  between  a submarine  and  a rockcod. 

Rising  from  the  very  center  of  the  fountain 
basin,  a huge  sphere,  supported  by  a writhing 

[29] 


THE  SCULPTURE 
mass  of  aquatic  beasts,  continues  the  scheme 
upwards,  culminating  in  the  youth  on  horseback 
as  the  dominating  figure  of  the  whole  scheme. 
The  sphere  is  charmingly  decorated  with  reclin- 
ing figures  of  the  two  hemispheres  and  with  a 
great  number  of  minor  interesting  motives  of 
marine  origin.  The  youth  on  horseback  is  not 
exactly  in  harmony  with  the  fountain;  one  feels 
that  the  aquatic  feeling  running  through  the 
rest  of  the  fountain  is  not  equally  continued  in 
this  exceedingly  well-modeled  horse  and  youth 
and  those  two  smaller-scaled  figures  on  his 
shoulders — I feel  that  the  very  clever  hand  of  a 
most  talented  artist  has  not  been  well  supported 
by  a logical  idea.  Their  decorative  effect  is  very 
marked,  taken  mainly  as  a silhouette  from  a 
distance.  They  are  no  doubt  effective  in  carry- 
ing upwards  a vertical  movement  which  is  to 
some  extent  interfered  with  by  the  outstretched 
arms  of  the  youth.  Mr.  Calder  has  given  us  so 
very  many  excellent  things,  alone  and  in  collabo- 
ration with  others  throughout  the  Exposition, 
that  we  must  allow  him  this  little  bizarre  note 
as  an  eccentricity  of  an  otherwise  well-balanced 
genius. 

As  long  as  we  are  in  the  South  Gardens,  we 
might  take  the  time  to  investigate  the  two 
fountains  on  either  side  of  the  center,  towards 
the  Horticultural  Palace  on  the  left  and  Festival 
Hall  on  the  right.  There  we  find  a very  lithe 
mermaid,  used  alike  on  either  side,  from  a 
model  by  Arthur  Putnam.  Many  of  us  who  for 
years  looked  forward  to  the  great  opportunity 
of  the  Exposition,  which  would  give  Arthur 
Putnam  a worthy  field  for  his  great  genius,  will 
[30] 


THE  NATIONS  OF 


THE  SCULPTURE 

be  disappointed  to  know  that  the  mermaid  is 
his  only  contribution,  and  scarcely  representative 
of  his  original  way  in  dealing  with  animal  forms. 
The  untimely  breakdown,  some  two  years  ago, 
of  his  robust  nature  prevented  his  giving  himself 
more  typically,  for  his  real  spirit  is  merely 
suggested  in  this  graceful  mermaid. 

Sherry  Fry’s  figural  compositions  on  the  west 
of  Festival  Hall  might  well  be  worthy  of  a little 
more  attention  than  their  somewhat  remote 
location  brings  them.  The  two  reclining  figures 
on  the  smaller  domes  are  reposeful  and  ornate. 
A stroll  through  the  flower  carpets  of  the  South 
Gardens,  amidst  the  many  balustrade  lighting 
Hermae,  discloses  a wealth  of  good  architectural 
sculpture,  which  in  its  travertine  execution  is 
doubly  appealing. 

There  are  four  equestrian  statues  in  different 
places  on  the  north  side  of  the  Avenue  of  Palms. 
Two  are  in  front  of  the  Tower  of  Jewels,  the 
“Cortez”  by  Charles  Niehaus,  and  “Pizzaro,” 
by  Charles  Carey  Rumsey.  The  third  is  in 
front  of  the  Court  of  Flowers,  and  the  last  at  the 
entrance  to  the  Court  of  Palms.  The  two  lat- 
ter, Solon  Borglum’s  “Pioneer,” and  James  Earle 
Fraser’s  “The  End  of  the  Trail,”  belong  as 
much  together  as  the  two  relatively  conventional 
Spanish  conquerors  guarding  the  entrance  to  the 
Court  of  the  Universe. 

The  symbolism  of  the  “Pioneer”  and  “The 
End  of  the  Trail”  is,  first  of  all,  a very  fine 
expression  of  the  destinies  of  two  great  races  so 
important  in  our  historical  development.  The 
erect,  energetic,  powerful  man,  head  high,  with 
a challenge  in  his  face,  looking  out  into  early 

[31] 


THE  SCULPTURE 
morning,  is  very  typical  of  the  white  man  and 
the  victorious  march  of  his  civilization.  His 
horse  steps  lightly,  prancingly,  and  there  is 
admirable  expression  of  physical  vigor  and  hope- 
ful expectation.  The  gun  and  axe  on  his  arm 
are  suggestive  of  his  preparedness  for  any  task 
the  day  and  the  future  may  bring. 

Contrast  this  picture  of  life  with  the  over- 
whelming expression  of  physical  fatigue,  almost 
exhaustion,  that  Fraser  gives  to  his  Indian  in 
“The  End  of  the  Trail.”  It  is  embodied  in 
rider  and  horse.  Man  and  beast  seem  both  to 
have  reached  the  end  of  their  resources  and 
both  are  ready  to  give  up  the  task  they  are  not 
equal  to  meet. 

The  psychology  of  this  great  group  is  particu- 
larly fine.  It  is  in  things  like  these  that  our 
American  sculpture  will  yet  find  its  highest 
expression,  rather  than  in  the  flamboyant  type 
of  technically  skillful  work  so  abundantly  repre- 
sented everywhere.  “The  End  of  the  Trail” 
could  have  been  placed  more  effectively  in  the 
midst  of,  or  against,  groups  of  shrubbery  in  a 
more  natural  surrounding,  where  so  close  a 
physical  inspection  as  one  is  invited  to  in  the 
present  location  would  not  be  possible. 

The  Tower  of  Jewels,  however,  with  its  lofty 
arch  and  suggestion  of  hidden  things  behind  it 
encourages  the  spirit  of  investigation.  On  en- 
tering this  great  arch,  one  is  suddenly  attracted 
by  the  pleasing  sound  of  two  fountains,  sheltered 
in  the  secluded  abutting  walls  of  the  great  tower. 
Minor  arches,  piercing  the  base  of  the  tower 
west  and  east,  open  up  a view  toward  these 
sheltered  niches,  harboring  on  the  right  the 
[32] 


THE  MERMAID 

ARTHUR  PUTNAM,  SCULPTOR 


THE  SCULPTURE 

Fountain  of  Youth,  by  Mrs.  Edith  Woodman 
Burroughs,  and  the  Fountain  of  Eldorado  at 
the  left,  by  Mrs.  Harry  Payne  Whitney.  These 
two  fountains  are  totally  different  in  character, 
and  they  could  well  afford  to  be  so,  since  they 
are  not  visible  as  a whole  at  the  same  time, 
although  physically  not  far  apart. 

Mrs.  Burrough’s  fountain  is  very  naive  in 
feeling,  very  charming  in  the  graceful  modeling 
of  the  little  girl.  The  decorative  scheme  of  this 
poetic  unit  is  very  simple  and  well-sustained 
throughout  its  architectural  parts. 

Mrs.  Harry  Payne  Whitney’s  fountain  is  of 
the  intellectual,  dramatic  kind.  The  treatment 
of  this  almost  theatrical  subject  is  well  balanced. 
While  it  does  not  possess  any  too  much  repose, 
it  is  very  effective.  In  general  there  are  three 
parts  to  this  fountain;  the  central  doorway  of 
Eldorado,  just  ajar,  disclosing  faintly  this  land 
of  happiness;  while  on  either  side  are  two  long 
panels  showing  great  masses  of  humanity  in  all 
manner  of  positions  and  attitudes,  all  striving 
toward  the  common  goal.  Some  are  shown 
almost  at  the  end  of  their  journey,  overtaken 
with  exhaustion;  others  more  vigorous  are  lend- 
ing a willing  arm  to  the  support  of  their  less 
successful  brothers  and  sisters  about  to  fall  by 
the  wayside.  The  whole  composition  of  those 
two  friezes  shows  Mrs.  Whitney  as  a very  skillful 
and  imaginative  artist.  It  is  a gratifying  spec- 
tacle to  see  a woman  such  as  Mrs.  Whitney,  so 
much  heralded,  possibly  against  her  own  incli- 
nations, in  the  society  columns  of  New  York, 
find  the  time  to  devote  herself  to  so  serious  and 
professional  a piece  of  work  as  the  Fountain  of 
Eldorado. 


[33] 


THE  SCULPTURE 

Passing  through  the  Tower  of  Jewels  into  the 
Court  of  the  Universe,  one’s  attention  will  be 
attracted  to  a number  of  pieces  of  detached 
statuary.  The  most  important  among  them  is 
‘The  Four  Elements,”  by  Robert  Aitken.  We  all 
remember  Aitken  as  the  very  promising  young 
man  who  left  us  before  the  fire  to  make  a career 
in  the  East,  after  having  exhausted  all  local 
possibilities,  the  Bohemian  Club  included.  His 
figures  of  the  Four  Elements  are  typical  of  his 
temperament  and  he  acknowledges  in  them  his 
indebtedness  to  Michael  Angelo  without  being 
in  the  least  imitative.  These  four  figures  are 
allegorically  full  of  meaning,  and  taken  simply 
as  sculpture,  they  are  excellently  modeled.  His 
“Fire,”  showing  a Greek  warrior  defending 
himself  from  the  fiery  breath  of  a vicious  reptile, 
is  novel  in  its  motive,  while  “Water”  discloses 
Father  Neptune  bellowing  out  into  the  briny 
air,  accompanied  by  dolphins  in  rhythmic 
motions.  “Air,”  on  the  south,  discloses  Aitken 
as  the  skillful  modeler  of  less  muscular  forms  of 
a winged  female  figure,  which  in  itself,  without 
the  birds,  is  suggestive  of  its  meaning.  It  was 
very  daring  to  introduce  the  story  of  “Icarus” 
in  this  group,  by  the  small-scaled  figure  of  this 
first  mythological  aviator  on  the  outside  of  the 
wings  of  the  larger  figure.  It  helps  to  add  a 
note  of  interest  to  an  otherwise  not  so  inter- 
esting part  of  the  group. 

The  Fountains  of  the  Rising  and  the  Setting 
Sun  are  most  impressive  by  their  architectonic 
quality,  and  Wienman’s  clear  style  of  modeling 
is  seen  at  its  best  in  the  Tritons  in  the  fountain 
bowl.  The  figure  of  the  Setting  Sun  is  one  of 
[34] 


THE  ADVENTUROUS  BOWMAN  SUPPORTED  BY  FRIEZE  OF  TOILERS— 
DETAILS  FROM  THE  COLUMN  OF  PROGRESS 

HERMON  A.  MACNEIL,  SCULPTOR 


THE  SCULPTURE 

the  finest  figures  of  the  entire  Exposition.  The 
suggestion  of  the  termination  of  day,  indicated 
in^the  folding  of  the  wings  and  in  the  suggestion 
of  physical  fatigue,  is  very  well  conveyed.  A 
fine  relaxation  runs  through  the  whole  figure. 

The  Rising  Sun,  on  the  other  side,  has  all 
the  buoyancy  of  an  energetic  youth  ready  for 
his  daily  task.  With  widespread  wings,  looking 
squarely  out  into  the  world,  he  seems  ready  to 
soar  into  the  firmament.  The  contrast  is  admir- 
able in  these  two  figures,  and  Wienman  deserves 
all  the  popular  applause  bestowed  upon  his  work. 

Paul  Manship  has  contributed  two  groups  at 
the  head  of  the  east  and  west  steps  leading  to 
the  sunken  gardens,  each  group  consisting  of 
two  figures,  one  representing  Festivity,  the  other. 
Art  and  Music.  These  groups  are  used  alike 
on  either  side.  Manship  deserves  to  be  better 
represented  in  the  Exposition  than  by  these  two 
groups  alone.  His  position  as  one  of  the  very 
successful  of  our  younger  men  would  have  war- 
ranted a more  extensive  employment  of  his  very 
strong  talent. 

It  is  rather  a flight  from  those  Manship 
figures  to  the  colossal  groups  of  the  Nations  of 
the  East  and  of  the  West,  but  one  is  irresistibly 
drawn  to  these  wonderfully  effective  composi- 
tions. Their  location  makes  them  the  most 
prominent  groups  in  the  Exposition  ensemble. 

The  harmonious  co-operation  of  Calder, 
Roth,  and  Lentelli  has  resulted  in  the  creation 
of  a modern  substitute  for  the  old  Roman 
quadriga,  which  so  generally  crowns  triumphal 
arches.  Both  groups  are  so  skillfully  composed 
as  to  have  a similar  silhoutte  against  the  blue 

[35] 


THE  SCULPTURE 
sky,  but  individually  considered  they  are  full  of 
a great  variety  of  detail.  It  was  an  accomplish- 
ment to  balance  the  huge  bulk  of  an-elephant  by 
a prairie  schooner  on  the  opposite  side  of  the 
court.  Considering  the  almost  painful  sim- 
plicity of  the  costumes  and  general  detail  of  the 
western  nations  as  contrasted  with  the  elabor- 
ately decorative  accessories,  trappings,  and  tinsel 
of  the  Orient,  it  was  no  small  task  to  produce  a 
feeling  of  balance  between  these  two  foreign 
motives.  But  what  it  lacked  in  that  regard 
was  made  up  by  allegorical  figures,  like  those 
on  top  of  the  prairie  schooner,  used  not  so  much 
to  express  an  idea  as  to  fill  out  the  space  occupied 
by  the  howdah  on  the  other  side.  There  is  a 
great  deal  of  fine  modeling  in  the  individual 
figures  on  horse  and  camel  back  and  on  foot. 

In  either  one  of  the  two  groups  much  has 
been  lost  in  the  great  height  of  the  arches. 
Figures  like  ‘‘The  Alaskan,"’  “The  Trapper,” 
and  “The  Indian,”  for  instance,  are  particu- 
larly fine  and  they  would  be  very  effective  by 
themselves.  “The  Mother  of  Tomorrow”  in 
the  Nations  of  the  West  is  a beautifully  simple 
piece  of  sculpture. 

The  Nations  of  the  East,  like  the  West,  in 
its  entirety,  is  the  conception  of  A.  Stirling 
Calder,  who  modeled  the  pedestrian  figures. 
With  Mr.  Calder,  Messrs.  Frederick  G.  R. 
Roth  and  Leo  Lentelli  collaborated.  The  huge 
elephant  in  the  center  of  the  group  was  modeled 
by  Mr.  Roth,  also  the  camels.  The  mounted 
horsemen  were  modeled  by  Leo  Lentelli.  From 
left  to  right  the  figures  are — an  Arab  warrior,  a 
Negro  servitor  bearing  baskets  of  fruit,  a camel 
[36] 


THE  END  OF  THE  TRAIL 

JAMES  EARLE  FRASER,  SCULPTOR 


THE  SCULPTURE 

and  rider  (the  Egyptian),  a falconer,  an  ele- 
phant with  a howdah  containing  a figure  em- 
bodying the  spirit  of  the  East,  attended  by 
Oriental  mystics  representing  India,  a Buddhist 
Lama  bearing  his  emblem  of  authority,  a camel 
and  rider  (Mahometan),  a Negro  servitor,  and 
a Mongolian  warrior.  The  size  of  the  group, 
crowning  a triumphal  arch  one  hundred  and  sixty 
feet  in  height,  may  be  inferred  from  the  fact  that 
the  figure  of  the  Negro  servitor  is  thirteen  feet 
six  inches  in  height. 

On  the  arch  beneath  this  group  are  inscribed 
these  lines  by  Kalidasa:  “The  moon  sinks 

yonder  in  the  west,  while  in  the  east  the  glorious 
sun  behind  the  herald  dawn  appears.  Thus  rise 
and  set  in  constant  change  those  shining  orbs 
and  regulate  the  very  life  of  this  our  world.” 

The  Nations  of  the  West,  crowning  the  arch 
of  the  Setting  Sun,  is  also  the  conception  of  A. 
Stirling  Calder,  who  modeled  the  imaginative 
figures  of  “the  Mother  of  Tomorrow,”  “Enter- 
prise,” and  “Hopes  of  the  Future.”  Messrs. 
Leo  Lentelli  and  Frederick  G.  R.  Roth  collabor- 
ated in  their  happiest  style,  the  former  producing 
the  four  horsemen  and  one  pedestrian,  the 
Squaw,  and  the  latter  the  oxen,  the  wagon,  and 
the  three  pedestrians.  From  left  to  right  the 
figures  are,  the  French  Trapper,  the  Alaskan, 
the  Latin-American,  the  German,  the  Hopes 
of  the  Future  (a  white  boy  and  a Negro,  rid- 
ing on  a wagon).  Enterprise,  the  Mother  of  To- 
morrow, the  Italian,  the  Anglo-American,  the 
Squaw,  the  American  Indian.  The  group  is 
is  conceived  in  the  same  large  monumental 
style  as  the  Nations  of  the  East.  The  types  of 

[37] 


THE  SCULPTURE 
those  colonizing  nations  that  at  one  time  or 
place  or  another  have  left  their  stamp  on  our 
country  have  been  selected  to  form  the  composi- 
tion. 

The  following  lines  by  Walt  Whitman  are 
inscribed  on  the  arch  beneath  the  group  of  the 
Nations  of  the  West:  “Facing  west  from 

California’s  shores,  inquiring,  tireless,  seeking 
what  is  yet  unfound,  I a child,  very  old,  over 
waves  towards  the  house  of  maternity,  the  land 
of  migrations,  look  afar:  look  off  the  shores  of 
my  western  sea,  the  circle  almost  circled.” 

It  is  popularly  conceded  that  these  two 
groups  are  magnificently  daring  conceptions, 
richly  worked  out.  They  are  probably  the 
largest  groups  of  the  kind  ever  made,  the  dimen- 
sions of  the  base  being  fifty-two  by  thirty-eight 
feet,  and  the  height  forty-two  feet. 

Looking  seaward  from  the  Court  of  the 
Universe  the  Column  of  Progress  commands 
attention,  crowned  by  the  “Adventurous  Bow- 
man” and  decorated  at  the  base  with  a frieze 
symbolizing  achievement,  or  progress.  The 
very  fine  symbolism  in  this  column  deserves  to 
be  studied.  The  position  of  the  column  itself 
is  most  artistic  in  its  relation  to  the  surroundings. 
It  is  too  bad,  however,  to  see  the  view  from  the 
main  court  toward  the  column  spoiled  by  a 
music  pavilion  of  dubious  architectural  merit. 
The  effect  of  the  column  as  seen  from  any  point 
is  inspiring  in  its  monumental  grandeur.  The 
group  on  top,  the  Bowman,  represents  man’s 
supreme  effort  in  life.  He  is  supported  on  the 
left  by  his  fellow-man,  adding  strength  and 
steadiness  to  his  aim,  while  on  the  right  the 
[38] 


AUTUMN,  IN  THE  COURT  OF  THE  FOUR  SEASONS 

FURIO  PICCIRILLl,  SCULPTOR 


THE  SCULPTURE 

crouching  figure  of  a woman  watches  anxiously 
the  sureness  of  his  aim.  She  holds  ready  in 
her  hand  the  laurel  wreath  which  she  confidently 
feels  will  be  his  just  reward. 

The  great  Column  of  Progress  is  the  first 
column  in  the  world,  so  far  as  I know,  whose 
design  was  inspired  by  a purely  imaginative 
motive,  and  the  first  sculpture  column  at  any 
exposition.  It  must  be  considered  the  most 
splendid  expression  of  sculpture  and  architect^ 
ural  art  in  the  Exposition.  Mr.  Calder  may 
justly  feel  proud  of  this  great  idea  and  Mr. 
Hermon  MacNeil  has  added  new  laurels  to  his 
many  accomplishments  in  the  free  modeling  of 
the  very  daring  group  on  top. 

The  column  itself  is  decorated  with  the  spiral 
ascending  motive  of  the  Ship  of  Life,  while  at 
the  base  Isadore  Conti  expresses  the  striving  for 
achievement  in  four  well  modeled  panels  of  huge 
scale,  representing  human  life  in  its  progressive 
stages,  showing  men  and  women  in  attitudes  of 
hope  and  despair,  of  strength  and  weakness,  in 
the  never  ending  task  of  trying  to  realize  human 
destiny. 

The  Court  of  the  Four  Seasons  harbors  four 
groups  by  Piccirilli,  representing  the  seasons  in 
the  conventional  way,  dividing  the  year  into 
four  distinct  parts — spring,  summer,  autumn, 
and  winter.  These  four  groups  of  Piccirilli  are 
not  equally  successful.  By  far  the  most  effective 
is  the  one  representing  winter.  The  severe 
rigidity  of  the  lovely  central  standing  figure 
expresses  well  that  feeling  of  suspended  activity 
which  we  associate  with  the  conventional  con- 
ceptions of  the  season  of  dormant  life.  The 

[39] 


THE  SCULPTURE 
kneeling  side  figures  are  in  full  harmony  of 
expression  with  the  central  figure.  They  sup- 
port very  well  the  general  scheme. 

The  next  best,  to  my  mind,  seems  “Spring,’’ 
on  account  of  the  very  fine  psychological  quality 
of  the  standing  figure  in  giving  expression  in  a 
very  graceful  fashion  to  that  invigorating  and 
reviving  quality  of  our  loveliest  season.  The 
two  side  figures  seem  to  be  gradually  awakening 
to  the  full  development  of  their  powers. 

Next  to  “Spring,”  “Fall,”  by  the  fullness 
of  the  decorative  scheme,  suggests  Peace  and 
Plenty  in  the  preparation  for  the  Harvest 
Festival  and  in  the  touch  of  family  life  of  the 
mother  and  child  on  the  right. 

Mr.  Piccirilli’s  naturalistic  modeling  does 
not  express  itself  so  well  in  “Summer.”  There 
is  so  little  strictly  architectural  feeling  in  that 
group.  I think  that  Albert  Jaegers,  with  his 
two  single  figures  on  top  of  the  two  columns 
flanking  the  Orchestral  Niche,  actually  repre- 
sents our  own  two  seasons  much  more  success- 
fully than  does  Piccirilli.  Jaegers’  “Rain  and 
Sunshine”  should  be  used  to  name  the  court 
properly — “The  Court  of  the  Two  Seasons,” 
as  we  know  them  in  California — the  dry  season, 
the  season  of  harvest;  and  the  wet  season,  the 
one  of  recuperation.  I regret  that  here  an  op- 
portunity was  lost  to  add  distinction  to  the 
many  different  features  of  a great  undertaking. 

Jaegers  has  contributed  also  the  figure  of 
“Nature”  on  top  of  the  music  niche  and  the 
capital  bulls  on  the  pylons  toward  the  north  of 
the  court.  These  terra  cotta  bulls  are  surely 
worthy  of  the  adjective  derived  from  them. 
[40] 


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THE  PACIFIC - 
DETAIL  FROM 


THE  SCULPTURE 

Their  relative  size  is  very  good,  and  to  see  them 
in  the  richness  of  their  color  against  the  upper 
regions  of  a dark  blue  sky  is  very  effective. 

Directly  north  of  the  Court  of  the  Four 
Seasons  stands  Miss  Beatrice  Evelyn  Longman’s 
Fountain  of  Ceres,  originally  planned  for  the 
center  of  the  court,  but  so  very  effective  all  by 
itself  between  the  dignified  colonnades  of  the 
avenue.  The  fountain  is  most  impressive  by 
its  fine  architectural  feeling,  so  uncommon  in 
the  work  of  many  women  sculptors.  The  gen- 
eral feeling  of  it  is  refinement,  combined  with 
great  strength.  It  is  fully  deserving  of  monopo- 
lizing a fine  setting  of  dignified  architecture,  so 
richly  emphasized  by  some  of  the  finest  old  yew 
trees  in  the  grounds. 

In  the  Court  of  Abundance  a riot  of  interest- 
ing architectural  sculptural  details  invites  the 
attention  of  the  visitor.  Beginning  with  the 
lower  animal  forms,  such  as  crabs  and  crayfish, 
etc.,  the  entire  evolution  of  Nature  has  been 
symbolized,  reaching  its  climax  in  the  tower, 
where  the  scheme  is  continued  in  several  groups  in 
Chester  Beach’s  best  style.  The  lowest  of  these 
groups  shows  the  Primitive  Age,  followed  above 
by  the  Middle  Ages  and  Modernity.  The  great 
charm  of  this  finest  of  all  the  towers  in  the 
Exposition  is  its  wonderful  rhythmic  feeling. 
The  graceful  flow  of  line  from  the  base  toward 
the  top  is  never  interrupted,  in  spite  of  the  many 
sculptural  adornments  used  on  all  sides.  In 
front  of  the  tower  are  two  very  ornate  illuminat- 
ing shafts,  showing  Leo  Lentelli’s  diabolical 
cleverness  in  making  ornament  out  of  human 
figures.  Leo  Lentelli’s  style  is  particularly  well 

[41] 


THE  SCULPTURE 
adapted  to  Mullgardt’s  Court  of  Abundance. 
Its  care-free,  subtle  quality,  full  of  animation, 
presenting  new  motives  at  every  turn,  is  most 
helpful  in  the  general  spirit  of  festivity  which 
characterizes  this  most  interesting  of  all  the 
courts. 

Aitken’s  Fountain  of  Life  in  the  center  of  the 
court  is  totally  different.  Full  of  intellectual 
suggestion,  it  is  almost  bewildering  in  the  story- 
telling quality  of  its  many  details.  Aitken’s 
fountain,  which  is  situated  in  the  center  of  a 
basin  a hundred  and  fifty  feet  long  by  sixty-five 
feet  wide,  rises  directly  from  the  water.  The 
main  structure  consists  of  a series  of  four  groups 
of  heroic-sized  figures,  carved  in  pierced  relief, 
each  flanked  by  colossal  bronze  Hermes,  their 
arms  reaching  around  the  structure  and  held 
together  by  animal  forms  of  reptilian  or  fishy 
origin.  All  these  forms  and  figures  surround  a 
globe  of  enormous  size,  typifying  the  Earth, 
over  the  surface  of  which  streams  of  water  are 
thrown  from  the  reptilian  chain  motive. 

Leading  up  to  the  main  structure  is  a group 
of  ten  crouching  figures,  symbolizing  Destiny 
in  the  shape  of  two  enormous  arms  and  hands, 
giving  life  with  one  and  taking  it  with  the  other. 
Here,  on  the  left  side,  are  arranged  figures  sug- 
gesting the  Dawn  of  Life,  while  on  the  right  are 
men  and  women  depicting  the  fullness  and  the 
end  of  existence. 

In  the  first.  Prenatal  Sleep,  is  the  crouched 
form  of  a woman,  while  successively  come  the 
Awakening,  the  Ecstatic  Joy  of  Being — or  it 
may  be  the  Realization  of  Living;  the  Kiss  of 
Life,  with  the  human  pair  offering  up  their 
[42] 


THE  ALASKAN  — DETAIL  FROM  NATIONS  OF  THE  WEST 

FREDERICK  G.  R.  ROTH,  SCULPTOR 


THE  SCULPTURE 

children,  representative  of  the  beginnings  of 
fecundity;  a female,  strong  of  limb  and  superb 
of  physique,  enfolds  in  her  arms  two  infants, 
while  her  mate,  of  no  less  powerful  build  and  rude 
force,  kneeling  beside  her,  gives  her  an  embrace 
typical  of  the  overpowering  parental  instinct. 
Here  is  the  suggestion  of  the  elemental  feelings, 
the  beginnings  of  things. 

Between  the  first  group  and  the  central  one 
comes  a gap,  a space  typical  of  that  unknown 
time  in  history  when  conjecture  alone  permits 
speculation,  and  the  story  is  taken  up  again 
with  the  first  of  the  central  groups,  wherein 
stands  a figure  of  Vanity,  glass  in  hand,  sym- 
bolizing the  compelling  motive  of  so  much  in 
human  endeavor.  To  her  left,  in  enormous  con- 
trast, are  primitive  man  and  woman,  treated 
with  great  realism,  these  two  carrying  their 
burdens  of  life,  in  the  form  of  their  progeny, 
into  the  unknown  future,  their  expression  that 
of  rude  but  questioning  courage,  the  man 
splendid  in  his  virility,  superb  in  the  attitude 
of  his  awkward  strength,  ready  to  meet  whatever 
be  the  call  of  earth.  His  mate  meanwhile  sug- 
gests the  overwhelming  and  eternal  instincts  of 
motherhood. 

An  archaic  Hermes,  dividing  these  figures 
from  the  next  group,  allows  for  a space  of  time 
to  elapse,  and  we  come  to  their  children,  now 
grown  to  manhood  and  womanhood,  in  their 
rude  strength  finding  themselves,  with  the  result 
of  Natural  Selection.  This  is  a group  of  five 
personages,  the  center  figure  a man  of  splendid 
youth  and  vigor,  suggesting  the  high  state  both 
of  physical  and  intellectual  perfection,  uncon- 

[43] 


THE  SCULPTURE 
sciously  attracting  the  female,  two  of  whom 
regard  him  with  favor,  while  two  males  on  either 
side,  deserted  for  this  finer  type,  give  vent  to 
deep  regret,  despair,  and  anger.  One  attempts 
by  brute  force  to  hold  the  woman;  the  other 
reluctantly  gives  up  his  choice,  in  the  obvious 
futility  of  his  unequal  intellectual  endowment 
to  comprehend. 

From  this  to  the  Survival  of  the  Fittest  we 
have  a militant  group,  in  which  physical  strength 
begins  to  play  its  part,  and  perhaps  discloses 
the  first  awakening  of  the  war  spirit,  the  woman 
in  this  case  being  the  exciting  cause.  The  power- 
ful chieftains  struggle  for  supremacy  of  their 
time  and  tribe,  their  women  making  futile 
efforts  to  separate  them.  Here  the  sense  of 
conquest  receives  its  first  impression  and  is 
finely  indicated,  with  admirable  action,  while 
there  is  the  symbolism  of  the  conflict  of  the 
nations  that  has  ever  gone  on,  for  one  cause  or 
another,  and  that  struggle  for  the  female  which 
has  ever  been  the  actuating  motive  in  war,  con- 
quest, and,  for  that  matter,  peace. 

The  next  group — always  separated  by  the 
solemn  and  dignified  Hermae — discloses  ‘‘The 
Lesson  of  Life,’"  wherein  the  elders,  with  the  ex- 
perience of  the  years,  offer  to  hot-headed  youth 
and  to  the  lovelorn  the  benefit  of  their  own 
trials  and  struggles.  A beautiful  woman  is  the 
central  figure.  She  draws  to  her  side  splendid 
manhood,  the  Warrior,  willing  to  fight  for  his 
love  and  his  faith.  To  his  left  his  mother  offers 
him  her  affectionate  advice,  while  to  the  right 
a father  restrains  a wayward  offspring  who, 
rejected  by  the  female,  is  in  a state  of  frenzied 
[44] 


THE  FEAST  OF 
SACRIFICE 

ALBERT  JAEGERS, 


THE  SCULPTURE 

jealousy.  Finally  two  figures  represent  Lust, 
a man  struggling  to  caress  the  unwilling  woman 
who  shrinks  from  his  embraces,  and  we  are  led 
down  from  this  pair  out  of  the  composition  to 
the  crouching  group  at  the  approach  of  the 
structure,  referred  to  at  the  beginning  of  this 
description,  who  here  are  departing  from  the 
central  composition. 

First  is  a figure  of  Greed  looking  back  on  the 
Earth.  He  holds  in  his  hands  a mass  suggestive 
of  his  futile  and  unsavory  worldly  possessions, 
the  unworthy  bauble  toward  which  his  efforts 
have  been  directed.  Back  of  him  we  have  the 
group  of  Faith,  wherein  kneels  a Patriarch,  who 
offers  consolation  to  a woman  to  whom  he  pre- 
sents the  hope  of  immortality,  holding  in  his 
hands  a scarab,  ancient  symbol  of  renewed  life. 
Next  come  two  recumbent  figures,  a man  and  a 
woman,  the  first.  Sorrow,  the  other  typifying 
Final  Slumber.  These  are  about  to  be  drawn 
into  oblivion  by  the  relentless  hand  of  Destiny. 

In  the  center  of  a formal  parapet  at  the  end 
of  the  basin  of  water,  sixty  feet  from  the  fountain, 
is  a colossal  figure  symbolic  of  the  setting  sun, 
Helios,  the  great  orb  having  thrown  off  the 
nebulous  mass  that  subsequently  resolved  itself 
into  the  earth. 

In  the  immediate  neighborhood  of  this  Court 
of  Abundance  is  found  Sherry  Fry’s  figure  of 
Neptune’s  Daughter,  in  the  open  court  north  of 
the  tower.  The  figure  is  not  in  keeping  with 
the  scheme  of  Mullgardt’s  court,  extending  in 
this  direction.  The  effect  of  this  figure,  no 
matter  how  graceful  it  may  be,  is  unquestionably 
too  physical,  in  a certain  measure  owing  to  the 
opportunity  for  close  inspection. 


[45] 


THE  SCULPTURE 

On  the  south  of  the  Court  of  Abundance,  in 
the  Court  of  Flowers,  Edgar  Walter’s  fountain 
has  been  placed.  ‘‘Beauty  and  the  Beast” 
have  been  combined  in  contrasting  fashion, 
with  much  effect,  by  associating  the  youthful 
charms  of  a graceful  maid  with  the  angular 
ugliness  of  a dragon,  who  seems  to  feel  honored 
by  having  been  selected  as  the  resting-place  of  a 
creature  from  outside  his  realm.  He  seems  to 
be  almost  hypnotized  into  a state  of  abject  life- 
lessness. The  effect  of  this  juxtaposition  of  the 
round  forms  of  the  human  body  and  the  almost 
geometrical  angularity  of  the  fabulous  beast  is 
very  interesting  and  adds  a new  note  to  the  many 
other  ideas  presented.  The  architectural  scheme 
of  the  fountain  is  made  doubly  interesting  by  a 
rich  use  of  animal  forms  of  humorous  character. 

The  immediate  vicinity  of  the  Laguna  re- 
mains still  to  be  investigated  in  regard  to 
sculptural  adornments.  The  dozen  or  so  niches 
in  the  west  front  of  the  main  building  present  a 
repetition  of  two  individual  groups  by  Charles 
Harley,  of  New  York,  of  decidedly  archaeologi- 
cal character — “The  Triumph  of  the  Field” 
and  “Abundance.”  They  are  most  serious 
pieces  of  work,  possibly  too  serious,  and  they 
are  in  great  danger  of  remaining  caviar  to  the 
masses  on  account  of  the  complexity  of  their 
symbolism  and  the  intellectual  character  of  their 
motives.  Their  setting  is  most  atractive, 
amongst  groups  of  trees  and  shrubs. 

Maybeck’s  Palace  of  Fine  Arts  is  so  over- 
whelming in  its  architectural  effects  that  one 
seldom  feels  like  doing  justice  to  the  fine  sculp- 
tural detail  everywhere  in  this  building.  Ralph 
[46] 


YOUTH  — FROM  THE  FOUNTAIN  OF  YOUTH 

EDITH  WOODMAN  BURROUGHS,  SCULPTOR 


THE  SCULPTURE 

Stackpole’s  interesting  Shrine  of  Inspiration  is 
the  most  charming  bit  of  sculpture,  more  de- 
tached in  its  effect  than  most  of  the  other 
motives.  Bruno  Zimm’s  eight  fine  friezes,  show- 
ing the  development  and  influences  of  the  arts 
in  a very  severe,  almost  archaic  style  of  model- 
ing, add  a fine  note  to  the  dome,  and  Ulric 
Ellerhausen’s  equally  architectonic  friezes  are  in 
good  style  and  are  in  thorough  harmony  with 
the  classic  quality  of  this  great  palace. 

It  is,  of  course,  not  possible  to  name  all  of  the 
many  pieces  of  architectural  sculpture  used  at 
the  Exposition.  The  general  effect  one  receives 
is  that  it  represents  the  best  that  is  possible  in 
Exposition  sculpture  today.  It  gives  evidence 
of  the  increasing  development  of  the  qualities 
of  design,  as  contrasted  with  the  so  much  looser 
work  of  former  expositions.  Seldom  before  have 
sculptors  anywhere,  since  sculpture  and  archi- 
tecture first  worked  hand  in  hand,  so  played 
their  most  important  roles  together  in  the  en- 
semble setting  that  constitutes  our  Exposition 
visually.  On  arch  or  column,  in  niches,  in 
fountains,  and  in  free-standing  groups,  they  sing 
of  many  themes,  and  always  in  harmony,  but 
with  no  loss  of  character  or  individuality.  There  is 
no  doubt  of  it,  that,  for  an  Exposition,  sculpture 
is  the  most  important  of  all  the  arts,  because  it 
is  the  most  human.  Without  it,  architecture 
would  be  cold  and  without  appeal.  I foresee  a 
great  future  for  sculpture  in  America,  where 
our  temperament  demands  it.  The  educational 
value  of  sculpture  at  an  exposition  is  incalculable. 
It  is  a school  for  the  sculptors,  too,  as  well  as  for 
the  public. 


[47] 


THE  COLOR  SCHEME  ^ 
LANDSCAPE  GARDENING 


Nothing  excites  the  Exposition  visitor  more 
than  the  color  scheme  of  the  buildings. 
But  ‘‘excite’’  is  really  not  the  proper  word,  be- 
cause there  is  nothing  exciting  about  it.  Noth- 
ing was  farther  from  Mr.  Guerin’s  mind  than  to 
create  excitement,  unrest,  or  any  of  those  sensa- 
tions that  might  lead  to  fatigue  or  even  to  a 
nervous  breakdown.  We  understand  fully  by 
this  time  that  it  was  Jules  Guerin  who  is  the 
responsible  artist,  and  who  supervised  the  put- 
ting into  existence  of  the  first  real  “Guerin”  that 
ever  was.  Mr.  Guerin  has  the  distinction  of 
being  the  first  director  of  color  and  of  decora- 
tion ever  appointed  for  an  international  expo- 
sition. 

It  must  become  evident  to  any  person  who 
is  at  all  familiar  with  the  fascinating  tonal  de- 
signs Guerin  produces  for  many  of  our  leading 
magazines  that  what  he  did  was  nothing  but  to 
paint  nature  as  he  has  been  used  to  represent  it 
in  his  pictures.  Guerin  must  have  had  a glorious 
time  with  that  first  great  opportunity,  so  seldom 
to  happen,  of  putting  all  those  pet  colors  of  his 
into  the  actual  outdoors,  there  to  feast  his  eyes 
upon  them.  It  was  a daring  and  novel  under- 
taking, most  successful  in  a large  way.  I hope  - 
[48] 


TRUTH  — DETAIL  FROM  THE  FOUNTAIN  OF  THE  SETTING  SUN 

ADOLPH  A.  WEINMAN,  SCULPTOR 


THE  COLOR  SCHEME 

we  are  going  to  benefit  by  this  successful  experi- 
ment and  begin  to  give  life  to  our  dreary  cement 
fagades,  mournful  roofs,  and  lifeless  window- 
sashes,  ornamentations,  and  what  not.  We  are, 
I admit,  hopelessly  at  the  mercy  of  the  house- 
painter,  who  knows  much  about  estimates, 
something  about  paint,  and  little  about  color. 
I hope  we  are  going  to  learn  the  difference  be- 
tween paint  and  color,  the  purely  physical, 
meaningless  thing  on  the  one  hand,  and  the 
intelligence-conveying,  pleasure-giving  element 
on  the  other. 

Guerin  certainly  knows  color,  and  I take  it 
for  granted  that  a man  of  his  training  and  ex- 
perience knows  how  to  use  paint.  His  exposi- 
tion buildings  look  for  all  the  world  like  a live 
Guerin  print  taken  from  the  Century  Magazine 
and  put  down  alongside  of  the  bay  which  seems 
to  have  responded,  as  have  the  other  natural 
assets,  for  a blending  of  the  entire  creation  into 
one  harmonious  unit.  I fancy  such  a thing  was 
possible  only  in  California,  where  natural  con- 
ditions invite  such  a technical  and  artistic 
innovation. 

The  general  effect  is  one  of  great  warmth. 
The  basic  tone  of  the  travertine  furnishes  a very 
rich  foundation  for  the  other  colors  added.  The 
whole  range  of  color  is  very  simple  and  it  is 
simplicity  and  repetition  over  large  areas  that 
make  the  colors  so  effective.  There  are  three 
different  greens,  for  instance — the  patina  green 
on  many  minor  domes,  suggesting  aged  copper 
surfaces;  a very  strong  primary  green,  on  the 
small  doors  of  the  palaces  and  most  of  the  lattice 
work;  and  another  very  pale,  pinkish  green,  a 

[49] 


THE  LANDSCAPE  GARDENING 
sort  of  an  abalone  shell  green,  used  on  all  the 
flagpole  bases,  always  topped  off  with  a light 
pinkish  red,  used  above  the  light  green  base  on 
all  the  flagpoles. 

Then  there  are  the  reds,  a number  of  different 
reds,  running  from  a pinkish  brick  color  to  a 
darker  russet  red,  to  be  found  exclusively  in  all 
vertical  panels  serving  as  background  for  de- 
tailed statuary — for  instance,  in  all  the  courts. 
Next  to  the  red  there  is  a brilliant  orange,  used 
in  relatively  small  quantities  here  and  there  in 
the  mouldings,  as  around  the  Brangwyn  paint- 
ings in  the  Court  of  Abundance. 

This  leaves  yet  to  be  named  the  few  soothing 
blues  that  abound  in  the  ceilings,  in  the  deep 
recesses  of  the  walls,  and  the  coffered  arches, 
serving  as  backgrounds  for  the  many  richly- 
modeled  terra  cotta  rosettes. 

This  is  practically  the  entire  range  of  colors, 
but  they  assume,  of  course,  endless  variations  of 
tone  and  intensity,  owing  to  the  difference  of 
the  surfaces  and  the  play  of  light  and  shadow. 
The  relation  of  the  whole  color  scheme  to  the 
colors  furnished  by  nature  is  by  no  means  acci- 
dental. The  effect  of  the  ensemble,  on  a calm, 
sunny  day,  is  hard  to  describe  in  its  gorgeous 
beauty. 

The  pressing  into  service  of  nature  as  applied 
to  color  was  particularly  inviting,  of  course,  on 
the  bay  side,  where  simple  sweeps  of  skies,  foot- 
hills, and  plain  bodies  of  water  furnish  almost 
ideal  conditions.  This  is  true  in  a similar  way 
for  the  background  in  the  west,  but  toward  the 
south — ^well,  we  had  better  forget  such  mourn- 
ful outward  aspects  of  our  great  city  of  San 
[50] 


THE  STAR 

A.  STIRLING  CALDER,  SCULPTOR 


THE  LANDSCAPE  GARDENING 

Francisco,  known  around  the  world  for  its  gay 

temperament. 

Appreciating  the  importance  of  detail,  Guerin 
extended  his  color  treatment  to  practically 
everything  presenting  surface.  Nothing  could 
escape  his  vigilant  eyes.  Even  the  sand  cover- 
ing of  the  asphalted  roads  is  of  a peculiarly 
attractive  blend.  It  seems  like  a mixture  of 
ordinary  sand  with  a touch  of  cinnamon.  Even 
that  corps  of  stalwart  guards  had  to  submit  to  a 
tonal  harmony  of  drabs,  with  touches  of  yellow 
metal,  warm  red  puttees,  and  neat  little  yellow 
Spanish  canes.  They  all  seem  very  proud  and 
appreciative  of  their  part  in  the  concert  of  colors, 
and  they  speak  of  it  with  feeling  and  reverence. 
Not  long  ago,  during  a rather  stormy,  wet  day, 
I happened  to  notice  several  of  these  cicerones 
hiding  in  a doorway  of  one  of  the  palaces,  look- 
ing most  disconsolate.  The  reason  for  it  be- 
came immediately  apparent ; the  un-Californian 
weather  had  forced  them  to  put  on  civilian  over- 
coats of  indescribable  hues,  and  the  shame  of 
being  out  of  color  was  plainly  written  in  their 
faces.  It  shows  that  art  is  largely  a matter  of 
education. 

I fancy  that  all  that  a respectful  and  appreci- 
ative public  could  do,  in  order  to  live  up  to  the 
occasion,  would  be  to  have  Exposition  suits 
built  of  pongee  silk,  or  some  other  harmonious 
material.  So  far,  on  all  of  my  visits,  I observed 
a shocking  preponderance  of  black,  which  I hope 
will  eventually  yield  to  the  softer  colors  of  lighter 
materials,  with  the  arrival  of  warmer  weather. 

The  careful  observer  will  find  that  the  crim- 
son vermilion  red  of  the  fire  alarm  boxes  had  to 

[51] 


THE  LANDSCAPE  GARDENING 
yield  to  a more  refined  vivid  orange,  much,  I 
understand,  to  the  consternation  of  the  Exposi- 
tion fire  marshal,  who  must  have  been  shocked 
at  this  intrusion. 

The  horticultural  effect  of  the  grounds,  flower 
beds,  and  shrubbery  will  always  adapt  itself 
properly  to  the  color  scheme,  and  a preponder- 
ance of  warm  yellows,  reds,  and  orange  will 
simultaneously  fill  out  the  garden  areas.  At 
first  yellow  pansies  and  daffodils  had  control,  to 
be  replaced  in  due  season  by  the  uniform  appear- 
ance of  tulips,  hyacinths,  and  successions  of  other 
flowers.  This  progressive  appearance  of  new 
flower  carpets  will  provide  ever-changing  elements 
of  interest  throughout  the  entire  period  of  the 
Exposition. 

It  seems  only  right  at  this  time  to  speak  of  the 
great  and  modestly  contributed  services  of  John 
McLaren.  He,  with  his  wide  experience  and 
unceasing  energy,  created  the  garden  setting 
which  ties  all  the  buildings  into  a natural  har- 
mony. Hardly  ever  have  trees,  shrubs,  and 
flowers  been  used  in  such  profusion  in  an  Expo- 
sition. Conventional  in  aspect,  all  great  ex- 
positions in  the  past  have  been  lacking  in  the 
invigorating  elements,  no  matter  how  natural- 
istic the  site  may  have  been.  The  few  scraggly 
pines  of  St.  Louis  looked  more  like  undesirable 
left-overs  of  a former  forest  than  like  a sup- 
porting feature  of  the  Exposition  picture. 

The  stony  look  of  many  former  expositions 
is  not  evident  at  San  Francisco.  Considering 
the  fact  that  the  exposition  is  largely  on  made 
ground,  it  is  amazing  what  has  been  accom- 
plished. With  the  exception  of  the  few  scat- 
[52] 


THE  TRITON  — DETAIL  OF  THE  FOUNTAIN  OF  THE 
RISING  AND  THE  SETTING  SUN 

ADOLPH  A.  WEINMAN,  SCULPTOR 


THE  LANDSCAPE  GARDENING 
taring  remains  of  an  old  amusement  park — the 
Harbor  View  Gardens — so  charmingly  utilized 
in  the  courtyard  of  the  California  building, 
practically  all  the  trees  and  shrubs  had  to  be 
brought  in  from  the  outside.  How  well  Mr. 
McLaren  succeeded  in  moving  whole  gardens 
‘‘en  bloc”  to  the  Exposition  is  shown  by  the 
fact  that  with  the  exception  of  a few  Monterey 
cypresses  on  one  of  the  lagoon  islands,  not  a 
single  tree  has  died.  It  was  no  small  task  to 
transplant  eucalypti  forty  feet  high,  and  aged 
yew  trees,  and  the  tradition  that  it  is  impossible 
to  transplant  old  trees  has  again  been  demon- 
strated as  in  the  same  class  with  other  old  say- 
ings based  on  the  experience  of  the  past,  but 
applying  no  longer  to  our  own  conditions. 

The  stately  rows  of  palms  on  the  south 
avenue  contain  some  specimens  of  the  Canary 
Island  palms  which  must  be  nearly  forty  years 
old,  and  some  of  the  yews  in  the  colonnade 
between  the  Court  of  the  Four  Seasons  and  the 
Marina,  near  Miss  Longman’s  Fountain  of 
Ceres,  are  probably  even  older.  The  massing 
of  large  groups  of  black  acacia,  Monterey  pines, 
and  cypresses,  filled  in  at  the  edge  with  veronica 
and  many  other  flowering  shrubs,  gives  many 
interesting  notes,  and  serves  frequently  as  back- 
grounds for  statuary. 

Like  everything  else,  from  the  architecture 
down,  the  garden  aspect  of  the  Exposition  is  not 
frugal  nor  skimpy,  whatever  floral  effects  are 
used.  Like  shrubbery,  trees  occur  in  great  pro- 
fusion, and  without  regard  for  difficulties  in 
transplanting. 


[S3] 


THE  LANDSCAPE  GARDENING 

The  Court  of  the  Universe  did  not  receive 
the  generous  treatment  from  Mr.  McLaren  that 
it  almost  cries  for.  The  few  isolated  Italian 
cypresses  in  the  Court,  near  the  tower,  no  doubt 
help  a good  deal,  but  one  is  tempted  to  ask  why 
there  are  not  more  of  them.  Italian  cypresses 
are  hard  to  transplant,  particularly  if  their  feet 
have  become  accustomed  to  the  peaceful  con- 
ditions of  Santa  Clara  Valley  cemeteries,  where 
most  of  them,  I understand,  enjoyed  an  undis- 
turbed existence  until  they  were  used  so  very 
effectively  in  the  Exposition.  These  success- 
fully moved  old  trees  are  by  far  the  most  useful 
trees  in  architectural  schemes,  as  anybody  who 
knows  the  Villa  Borghese  in  Rome  must  admit. 

I would  like  to  see  a law  passed  that  every 
person  at  a certain  age  must  plant  six  Italian 
cypresses.  I humbly  suggest  this  to  our  legis- 
lators, who  seem  to  be  suffering  from  a lack  of 
measures  to  be  introduced  and  passed  for  the 
benefit  of  the  people. 

The  Italian  cypress  is  our  most  picturesque 
tree,  and  for  combination  with  architecture,  is 
unrivaled  by  any  other  tree.  They  grow  rather 
slowly,  but  do  not  take  much  space,  on  account 
of  their  vertical  habit.  The  making  of  the  Court 
of  Palms  is  due  largely  to  the  liberal  use  of  these 
elegant  trees,  with  their  somber  stateliness. 

The  lover  of  outdoors  will  find  no  end  to  his 
pleasurable  investigations  in  the  many  fine,  lux- 
urious groupings  of  flowering  shrubs.  Heather, 
which  does  so  well  with  us,  and  blooms  when  only 
few  flowers  brighten  our  gardens,  has  been  pro- 
fusely used  in  solid  beds  at  the  base  of  the  Kel- 
ham  towers,  around  Festival  Hall,  and  in  many 
[54] 


FINIAL  FIGURE  IN  THE  COURT  OF  ABUNDANCE 

LEO  LENTELLI,  SCULPTOR 


THE  LANDSCAPE  GARDENING 
Other  places.  The  dainty,  glistening  foliage, 
interspersed  with  red  berries  of  another  accli- 
mated alien  from  the  Himalaya  Mountains — 
the  Cotoneaster — makes  fine  borders  around  the 
pool  in  the  Court  of  the  Four  Seasons,  in  the 
Court  of  Palms,  and  in  several  of  the  colonnades. 

Evergreen  plants  and  shrubs  are  the  domi- 
nant features  of  the  two  Italian  Avenues  con- 
necting the  big  court  with  the  side  courts.  The 
rich  and  luxuriant  carpets  of  the  many  varieties 
of  box,  thuya,  taxus,  and  dwarf  pine,  in  dark, 
somber  greens  and  many  lighter  color  varia- 
tions, are  superb. 

In  the  Court  of  Abundance  great  masses  of 
orange  trees  furnish  the  dominant  note.  They 
are  most  effective  with  their  branches  heavily 
laden  with  fruit.  They  are  not  only  a surprise 
to  the  outsider,  but  even  to  the  Californian,  who 
wonders  at  the  skill  and  experience  which  made 
this  feat  possible. 


155] 


MURAL  DECORATIONS 


T N connection  with  the  color  scheme,  the  mural 
^ decorations  invite  attention  at  many  places. 
The  outdoor  character  of  the  Exposition  has 
given  unusual  locations  to  some  of  these  decora- 
tions. There  are  in  all  some  thirty.  Mr. 
Guerin,  as  the  director  of  color,  had  full  charge  of 
their  production,  and  all  of  them  were  painted  by 
men  he  trusted  personally  as  regards  their  ability 
to  execute  and  to  finish  on  time.  That  his  choice 
fell  largely  on  Eastern  men  was  only  too  natural. 

Few  people  have  a proper  idea  of  the  magni- 
tude of  the  work  involved  in  painting  a huge 
decoration,  and  Mr.  Guerin  can  hardly  be 
blamed  for  his  choice  of  the  men  of  experience 
who  finally  did  the  work,  although  not  all  of 
them  justified  the  confidence  placed  in  them. 
The  work  of  painting  such  huge  decorations  is 
necessarily  a big  undertaking,  involving  many 
preliminary  studies  and  much  physical  and 
mechanical  labor  in  the  end.  Many  painter- 
decorators  employ  large  numbers  of  trained 
men,  apprentices  and  independent  artists,  to 
assist  in  the  execution  of  their  commissions, 
and  very  frequently  the  temptation  of  yielding 
the  pleasure  of  execution  to  other  hands  is  the 
cause  of  the  lowering  of  standards. 

Probably  none  of  the  canvases  by  Mr. 
Robert  Reid,  in  the  dome  of  the  Fine  Arts 
[56] 


THE  MURAL  DECORATIONS 
Palace,  can  be  said  to  do  justice  to  the  remark- 
able decorative  talent  of  Mr.  Reid.  He  is  so 
well  and  prominently  known  as  a painter  of 
many  successful  decorations,  in  the  East,  that 
it  is  to  be  regretted  that  he  was  not  in  a happier 
mood  when  he  came  to  the  task  of  painting  his 
eight  panels  of  irregular  shape  for  the  Exposition. 

The  very  scattered  style  of  painting  so 
effective  in  many  of  his  easel  paintings,  which 
show  all  the  fine  qualities  of  a modern  impres- 
sionistic school,  is  not  of  great  help  in  pictures 
intended  to  be  viewed  from  a great  distance. 
His  decorations  present  very  little  opportunity 
for  the  eye  to  rest  upon  them,  and  they  are 
altogether  too  involved,  in  their  turbulent  com- 
positions. Their  color  is  not  unattractive,  no 
matter  how  cold,  and  of  sufficient  interest  to 
atone  for  the  lack  of  dignified  design.  The  sub- 
jects of  all  of  these  are  by  no  means  unattractive, 
and  a description  of  them  reads  far  better  than 
the  pictures  look. 

The  birth  of  European  art  is  symbolized  in 
the  first  panel.  There  are  five  dominant  figures, 
grouped  about  an  altar  on  which  burns  the  sacred 
fire.  An  earthly  messenger  leans  from  his 
chariot  to  receive  in  his  right  hand  from  the 
guardian  of  the  flame  the  torch  of  inspiration, 
while  with  his  left  hand  he  holds  back  his  rearing 
steeds.  In  front  of  these  a winged  attendant 
checks  for  an  instant  their  flight.  The  central 
figure,  the  guardian  of  the  altar,  still  holds  the 
torch,  and  below  her  are  three  satellites,  one 
clasping  a cruse  of  oil,  another  pouring  oil  upon 
the  altar,  while  she  holds  in  her  hand  a flaming 
brand,  ready  to  renew  the  flame  should  it  falter, 

[57] 


THE  MURAL  DECORATIONS 
a third  zealously  watching  the  fire  as  it  burns. 
Opposite  these  a figure  holds  a crystal  gazing- 
globe,  in  which  the  future  has  been  revealed  to 
her,  but  her  head  is  turned  to  watch  the  flight  of 
the  earthly  messenger. 

The  birth  of  Oriental  art  is  symbolized  in  the 
second  panel.  The  forces  of  the  earth,  wresting 
inspiration  from  the  powers  of  the  air,  are 
pictured  by  a contest  between  a joyous  figure  in 
ancient  Chinese  armor,  mounted  upon  a golden 
dragon,  combating  an  eagle.  A female  figure 
under  a huge  umbrella  represents  Japan,  while 
on  either  side  are  two  other  Oriental  figures,  in 
gorgeous  attire,  symbolic  of  the  long  periods  of 
Oriental  art. 

The  third  panel  represents  the  Ideals  in  Art. 
There  are  seven  figures,  the  Greek  ideal  of 
beauty  dominating  all  in  a classic  nude.  Below 
this  Religion  is  portrayed,  in  a Madonna  and 
Child.  Heroism  is  shown  in  Jeanne  d’Arc, 
mounted  on  a war-horse  and  flinging  abroad  her 
victorious  pennant.  A young  girl  represents 
youth  and  material  beauty,  while  at  her  side  a 
flaunting  peacock  stands  for  absolute  nature, 
without  ideal  or  inspiration.  A mystic  figure  in 
the  background  holds  the  cruse  of  oil.  Over  all 
of  them  floats  a winged  figure  holding  a laurel 
wreath  for  the  victorious  living,  while  a shadowy 
ure  in  the  foreground  holds  a palm  for  the 
dead. 

The  fourth  panel  represents  the  inspirations 
of  all  Art,  five  figures  symbolizing  Music,  Paint- 
ing, Architecture,  Poetry,  and  Sculpture.  Fly- 
ing above  these  are  two  winged  figures,  one  hold- 
ing a torch  flaming  with  the  sacred  oil  that  has 
[58] 


THE  MURAL  DECORATIONS 
been  brought  from  the  altar,  the  other  drawing 
back  the  veil  of  darkness,  revealing  the  tangible, 
visible  expression  of  Art  to  mortal  eyes. 

The  four  single  panels  symbolize  the  four 
golds  of  California;  the  poppies,  the  citrus  fruits, 
the  metallic  gold,  and  the  golden  wheat.  The 
idea  of  the  four  golds  is  particularly  novel  and 
will  some  day  yield  far  more  interesting  results, 
and  I hope  the  subject  will  not  be  allowed  to  lie 
idle.  It  is  a very  fine  idea,  too  good  not  to  be 
used  permanently  in  some  dignified  building  in 
California. 

The  Court  of  the  Four  Seasons  offers  a 
decorative  scheme  of  eight  panels  above  the 
doorways  in  the  colonnades  and  two  large  panels 
in  the  orchestral  niche  on  the  south.  All  of  these 
ten  paintings  were  done  by  Milton  Bancroft,  one 
of  the  younger  of  the  Eastern  decorator-painters, 
who  took  his  task  seriously  enough,  without 
rising  in  any  of  his  decorations  above  the  con- 
ventional, with  the  exception  of  the  “Autumn’^ 
and  the  two  larger  panels  in  the  half  dome. 

All  of  the  seven  decorations  belonging  to  the 
set  of  eight  smaller  ones  are  rather  academic  in 
their  monotony  of  symmetrical  compositions, 
not  sufficiently  relieved  by  variety  of  detail. 
These  decorations  have  to  excess  what  Reid^s 
decorations  are  lacking  in,  namely,  repose. 
Their  coloring  is  quiet  and  in  thorough  harmony 
with  the  architecture. 

Bancroft’s  two  more  importantly  placed 
decorations  are,  fortunately,  his  best  efforts. 
“Art  Crowned  by  Time”  and  “Man  Receiving 
Instruction  in  the  Laws  of  Nature”  are  very 
effective  in  their  stateliness  and  thoroughly  decor- 

[59] 


THE  MURAL  DECORATIONS 
ative  quality.  They  show  the  artist’s  allegiance 
to  the  great  decorations  of  the  Renaissance  in 
many  quaint  ways  of  filling  out  the  background 
spaces  by  puttos  holding  tablets,  simple  bits  of 
architecture,  and  conventionalized  trees.  His 
figure  of  “Art”  is  unique  among  his  figures  in 
the  decorative  pattern  used  on  the  mantle  which 
falls  gracefully  from  her  shoulders.  All  the 
other  Bancroft  decorations  are  devoid  of  this  use 
of  surface  patterns,  which  are  so  helpful  and 
interesting  in  decorative  arrangement. 

It  is  only  a few  steps  from  the  Court  of  the 
Four  Seasons  into  the  Court  of  Palms.  In 
entering  through  the  orchestral  niche  one  passes 
directly  underneath  the  lunette  which  holds  the 
very  decorative  canvas  by  Arthur  Mathews, 
the  acknowledged  leader  in  the  art  of  California. 
It  must  be  said  that  it  does  not  seem  right,  in 
the  light  of  what  has  been  contributed  by  men 
from  elsewhere,  that  Mathews’  superb  talent 
should  have  been  employed  only  in  one  panel. 
His  “Victorious  Spirit,”  a rich  and  noble  compo- 
sition, has  certain  enduring  qualities  which  are 
not  to  be  found  in  a single  one  of  any  of  the 
others.  Simply  taken  as  a decoration,  his 
picture  is  most  effective  by  its  richness  of  color, 
and  without  going  into  the  question  of  its  mean- 
ing, it  is  thoroughly  satisfactory  as  a decoration. 

Childe  Hassam’s  lunette,  said  to  represent 
“Fruit  and  Flowers,”  is  almost  anaemic  along- 
side Mathews’  fullness  of  expression.  Nobody 
ever  suspected  Childe  Hassam  of  being  a deco- 
rator, no  matter  how  admittedly  important  a 
place  he  holds  in  the  field  of  easel  painting. 
The  composition  of  his  decorations  is  frugal  in 
[60J 


THE  MURAL  DECORATIONS 
every  sense,  largely  owing  to  the  small  scale  of 
his  figures.  In  the  physical  center  of  the  com- 
position nothing  of  interest  happens,  and  the 
composition  breaks  almost  in  two.  The  color- 
ing is  insipid,  and  altogether  not  in  keeping,  in 
its  extreme  coldness,  with  the  happy  warmth  of 
the  travertine  surrounding  it. 

Directly  opposite,  Charles  Halloway  presents 
himself  in  a very  happy  painting  called  “The 
Pursuit  of  Pleasure.”  A study  of  this  picture 
can  result  in  nothing  but  complete  satisfaction. 
It  is  well  and  interestingly  composed,  lively  in 
arrangement,  in  good  scale,  and  not  lacking  in 
a certain  feeling  of  repose,  so  essential  in  a good 
decoration,  and,  for  that  matter,  in  any  work 
of  art. 

In  the  great  arch  of  the  Tower  of  Jewels  the 
most  elaborate  decorations  of  Mr.  William  de 
Leftwich  Dodge,  of  New  York,  command  atten- 
tion first  of  all  by  their  fine  and  lively  colors. 
These  decorations  show  a most  experienced  artist, 
treating  a wide  variety  of  interrelated  subjects 
with  great  skill.  These  enormous  canvases,  six- 
teen by  ninety-six  feet  in  size,  are  divided  into 
a triptych,  each  picture  continuing  its  central 
scheme  into  two  smaller  side  panels. 

The  great  composition  to  the  left  is  labeled 
“The  Atlantic  and  the  Pacific,”  with  a picture 
of  “The  Purchase”  on  the  right  and  “The 
Discovery”  on  the  left.  Opposite  we  have 
the  “Gateway  of  all  Nations,”  with  “Labor 
Crowned”  and  “The  Achievement”  on  either 
side. 

Mr.  Dodge  has  a very  fine  sense  of  deco- 
ration, which  he  used  with  much  skill.  His 

[61] 


THE  MURAL  DECORATIONS 
command  of  human  forms,  together  with  the 
complete  mastery  of  all  other  detail,  enables 
him  to  paint  very  easily  decorations  which  leave 
no  doubt  as  to  his  long  and  varied  experience  in 
this  field. 

‘‘The  Atlantic  and  the  Pacific”  is  very  inter- 
esting in  its  formal  symmetry,  splendidly  re- 
lieved by  the  individual  treatment  of  the  eastern 
and  western  nations  which  receive  with  expres- 
sions of  joy  the  completion  of  the  great  waterway 
which  means  so  much  for  the  furthering  of  their 
mutual  interests. 

“The  Gateway  of  all  Nations”  on  the  oppo- 
site side  is  less  symmetrical,  but  very  well 
balanced  in  its  arrangement  of  many  elements, 
naturalistic  as  well  as  allegorical.  On  the  left, 
in  the  middle  picture,  one  sees  the  retiring 
forces  of  labor,  proudly  watching  the  great  pro- 
cession of  varied  ships,  moving  in  a joyous 
parade,  led  by  Father  Neptune  and  attendants, 
towards  the  recently  opened  gate.  Preceding 
Father  Neptune  are  allegorical  figures,  rhythmic- 
ally swinging  away  into  the  sky.  All  of  Dodge’s 
decorations  are  good  for  their  sound  decorative 
treatment,  always  sustaining  well  the  archi- 
tectural surrounding  frame,  so  particularly  im- 
portant in  this  great  and  massive  tower.  Dodge’s 
backgrounds  are  devoid  of  any  naturalistic  sug- 
gestion, which  so  often  destroys  otherwise 
effective  decorations. 

The  function  of  a decoration  must  always 
be  to  preserve  the  feeling  of  the  wall,  as  opposed 
to  the  work  of  the  easel  painter,  who  wants  to 
assist  in  forgetting  that  there  is  a canvas  and 
to  suggest  that  we  are  looking  into  the  far 
[62] 


THE  MURAL  DECORATIONS 
distance.  A good  decoration  should,  as  it  were, 
allow  the  driving  of  a nail  into  any  part  of  its 
surface — it  should  not  make  a hole  in  the  wall. 

In  the  two  triumphal  arches  of  the  Nations 
of  the  East  and  the  West,  Frank  Vincent  Du 
Mond  and  Edward  Simmons,  respectively,  con- 
tributed to  the  scheme  of  decorations.  In  the 
western  arch,  DuMond  painted  a continuous 
frieze  of  the  march  of  civilization  towards  the 
great  West.  His  work  is  most  conscientiously 
done,  very  intellectual,  and  most  effective  in 
color,  as  well  as  in  arrangement.  You  see  in 
his  continued  scheme  the  entire  story  of  western 
development. 

It  begins  with  the  youth  departing  from  his 
old  father,  who  only  reluctantly — feeling  the 
infirmities  of  old  age — stays  behind.  Preceding 
the  young  man,  the  historical  prairie-schooner, 
accompanied  by  pioneers,  continues  the  pro- 
cession. This  is  developed  further  in  historical 
groups  of  soldiers,  priests,  and  men  representing 
the  intellectual  rise  of  the  great  West.  There 
is  William  Keith,  with  the  palette.  Bishop  Tay- 
lor, Bret  Harte,  Captain  Anza,  and  other  well- 
known  western  figures,  taking  their  place  in  the 
procession  of  tent  wagons  and  allegorical  figures, 
all  striving  towards  that  very  fine  group  repre- 
senting California  in  all  the  gorgeousness  and 
splendor  of  the  Golden  State.  This  composi- 
tion of  “California,”  taken  by  itself,  is  one  of 
the  very  best  passages  in  the  whole  decoration, 
and  could  very  effectively  be  used  all  by  itself. 

On  the  east,  Edward  Simmons  presents  two 
very  charming  compositions,  full  of  great  refine- 
ment and  delicacy.  The  refined  coloring  of  his 

[63] 


THE  MURAL  DECORATIONS 
decorations,  so  very  delightful  by  themselves,  is 
not  in  accord  with  the  architecture,  and  in  the 
overawing  surroundings  of  the  great  arch  they 
do  not  look  as  well  as  they  might  in  a more  inti- 
mate scheme  of  smaller  scale.  The  one  to  the 
left,  as  seen  from  the  Court  of  the  Universe,  tells 
of  the  dreams  which  led  to  the  exploring  and 
exploiting  of  the  great  West.  Carefully  de- 
signed figures  of  great  refinement  represent 
‘‘Hope’"  and  “Illusory  Hope,”  scattering  tempt- 
ing bubbles,  heading  the  procession  of  stately 
women.  They  are  followed  by  “Adventure,” 
‘;Art,”  “Imagination,”  “Truth,”  and  “Re- 
ligion” and  a group  suggesting  family  life. 

On  the  opposite  side  the  westward  trend  of 
War,  Commerce,  Conquest,  Imagination,  and 
Religion  from  all  corners  of  the  earth  is  typified. 

Mr.  Simmons  in  all  his  work  employs  a very 
unusual  technique  of  broken  columns,  without 
losing  a certain  desirable  simplicity  of  surface. 
His  allegorical  theme  on  the  north  side  will 
linger  in  the  minds  of  the  people  as  one  of  the 
best  of  the  Exposition  decorations,  particularly 
for  its  graceful  drawing. 

It  seems  hardly  possible  to  do  adequate 
justice  to  the  very  unusual  genius  of  Frank 
Brangwyn,  who  charms  thousands  of  Exposi- 
tion visitors  with  his  eight  panels,  representing 
the  Four  Elements,  in  the  Court  of  Abundance. 
Brangwyn’s  pictures  have  one  great  advantage 
over  all  of  the  others,  which  lies  in  their  access- 
ible location,  well  controlled  by  daylight.  All 
the  other  decorations  seem  to  me  to  be  situated 
too  high  above  the  ground.  Brangwyn’s  have 
no  such  disadvantage  to  contend  with.  How 
[64] 


THE  MURAL  DECORATIONS 
much  more  important,  for  instance,  Mathews’ 
lunette  would  look,  placed  somewhere  nearer 
the  level  of  the  eye. 

Brangwyn’s  canvases  are  a veritable  riot  of 
color,  full  of  animation  and  life.  They  are 
almost  dynamic.  There  seems  to  be  something 
going  on  in  all  of  them,  all  the  time,  and  one 
hardly  knows  whether  it  is  the  composition,  the 
color,  or  the  subject,  or  all  three,  which  gives 
them  this  very  pronounced  feeling  of  animation. 
He  knows  how  to  approach  the  extreme  possi- 
bilities in  pictorial  decoration  without  losing 
sight  of  certain  elements  of  repose.  Seen  from 
a distance,  their  effect  at  first  is  somewhat 
startling,  owing  to  their  new  note,  not  remi- 
niscent in  the  very  least  of  the  work  of  any  other 
living — or  past — painter.  On  closer  examina- 
tion they  disclose  a great  wealth  of  form,  very 
skillfully  treated.  There  is  every  indication  that 
it  gave  the  artist  the  utmost  pleasure  to  paint 
them.  This  spirit  of  personal  enjoyment,  which 
all  of  them  convey  in  a remarkably  sustained 
fashion,  is  contagious,  and  disarms  all  criticism. 
They  are  primarily  great  paintings  in  a techni- 
cal sense.  Added  to  that  quality  is  a passionate 
iove  of  pure  color,  juxtaposed  with  fine  feeling 
for  complementary  colors  of  great  intensity. 

Brangwyn’s  glass  window  technique,  of  separ- 
ation into  many  primary  and  secondary  colors 
by  many  broad  contrasts  of  neutral  browns  and 
grays,  is  very  effective  in  bringing  a feeling  of 
harmony  in  all  of  his  paintings,  no  matter  how 
intense  their  individual  color  notes  may  be. 

His  pictures  are  not  intellectual  in  the  least, 
and  all  of  the  people  in  his  pictures  are  animals, 

[6S] 


THE  MURAL  DECORATIONS 
more  or  less,  and  merely  interested  in  having  a 
a square  meal  and  being  permitted  to  enjoy  life 
in  general,  to  the  fullest  extent. 

The  quality  of  enjoyment  that  runs  through 
all  of  Brangwyn’s  work  is  extremely  useful  in 
the  general  atmosphere  of  Mullgardt’s  court. 
In  the  northwest  corner.  Nature  is  represented, 
in  all  the  fecundity  of  the  earth.  Only  in  our 
wildest  dreams,  and  only  in  the  advertisements 
of  California  farm  lands  and  orchards,  do  such 
grapes,  pumpkins,  pears,  and  apples  exist. 

The  picture  to  the  left  shows  the  grape- 
treaders,  in  the  old-fashioned  and  unhygienic 
practice  of  crushing  grapes  by  dancing  on  them 
in  enormous  vats.  Others  are  seen  gathering 
and  delivering  more  grapes.  As  in  the  other 
picture,  showing  the  harvest  of  fruit,  more 
people  are  shown.  Brangwyn  never  hesitates 
to  use  great  numbers  of  people,  which  seem  to 
give  him  no  trouble  whatever  in  their  modeling 
and  characterization. 

Following  on  to  the  right,  ‘‘Fire,”  repre- 
sented as  the  primitive  fire  and  as  industrial 
fire,  in  two  pictures,  continues  the  scheme.  That 
group  of  squatting  woodmen  carefully  nursing 
a little  fire  is  almost  comical,  with  their  ex- 
tended cheeks,  and  one  can  almost  feel  the  effort 
of  their  lungs  in  the  strained  anatomy  of  their 
backs.  There  does  not  seem  to  be  anything  too 
difficult  for  Brangwyn.  “Industrial  Fire”  is 
interesting  from  the  decorative  note  of  many 
pieces  of  pottery  in  the  foreground.  They  seem 
to  have  come  from  the  kiln  which  muscular  men 
are  attending. 


[66] 


PRIMITIVE  FIRE 

FRANK  BRANGWYN,  PAINTER 


THE  MURAL  DECORATIONS 

‘‘Water”  is  unusually  graceful  and  delicate 
in  its  vertical  arrangement  of  trees  and  the  curve 
of  the  fountain  stream,  coming  from  the  side  of 
a hill.  Women,  children,  and  men  have  congre- 
gated, taking  their  turn  in  filling  all  sorts  of 
vessels,  some  carried  on  their  heads,  some  in 
their  arms.  Brangwyn’s  clever  treatment  of 
zoological  and  botanical  detail  is  well  shown  in 
flowers  in  the  foreground,  such  as  foxglove  and 
freesia,  and  the  graceful  forms  of  a pair  of  pinkish 
flamingoes.  In  the  other  panel  of  the  same 
subject,  a group  of  men  on  the  shore  are  hauling 
in  their  nets. 

The  last  of  the  four,  “Air,”  represents  this 
element  in  two  totally  different  ways;  the  one 
on  the  left  gives  the  more  tender,  gentle  move- 
ment of  this  element,  in  the  suggestion  of  the 
scent  of  the  bowmen  screened  by  trees,  moving 
toward  their  prospective  prey,  while  the  other 
very  bold  composition  is  of  a windmill  turned 
away  from  the  destructive  power  of  an  impend- 
ing wind-storm.  In  the  foreground  people  are 
rushed  along  by  gusts  of  wind,  while  children, 
unaware  of  the  impending  storm,  are  flying 
kites. 

The  masterful  and  varied  treatment  of  these 
eight  canvases  show  Brangwyn  as  the  great 
painter  he  is  known  to  be.  We  should  rejoice 
to  have  such  excellent  examples  of  his  brush 
permanently  with  us. 

While  not  exactly  belonging  to  the  number 
of  official  decorations,  John  Trumbuirs  wall- 
paintings  in  the  unique  Pennsylvania  building 
are  of  great  interest.  Thoroughly  dignified  in 
their  composition,  they  are  most  descriptive  in 

[67] 


THE  MURAL  DECORATIONS 
their  subject-matter.  The  ‘‘Pennsylvania  In- 
dustries’" are  on  the  west  side  and  “Penn’s 
Treaty  with  the  Indians”  on  the  other.  It  is 
evident  that  Trumbull  is  a disciple  of  Brangwyn, 
though  a personal  note  is  not  lacking  in  his 
work. 

The  tea-room  of  the  California  building  har- 
bors some  mural  decorations  by  Miss  Florence 
Lundborg  which  the  male  part  of  the  population 
can  enjoy  only  by  special  invitation.  I regret 
that  they  are  not  placed  somewhere  where  the 
casual  Exposition  stroller  can  see  them,  because 
they  are  deserving  of  more  attention  than  they 
are  apt  to  receive.  Miss  Lundborg’s  artistic 
contributions  have  for  many  years  been  along 
the  lines  of  decorations  and  in  this  big,  well- 
composed  figural  scheme  she  discloses  again  a 
very  fine,  sympathetic  understanding  of  the 
problems  of  a wall  decoration.  The  color 
scheme  is  very  refreshing  and  gives  life  to  a 
large  hall  which  has  been  endowed  with  unusual 
distinction  by  Miss  Lundborg’s  art.  A number 
of  decorative  floral  medallions  complete  a scheme 
which  is  characterized  throughout  by  dignity 
and  sympathy. 


[68] 


THE  ILLUMINATION 

Conclusion 


WHILE  a daytime  investigation  of  the  Expo- 
sition no  doubt  has  its  rewards,  the  full 
meaning  of  the  Exposition  reveals  itself  at  night. 
Never  before  has  an  Exposition  been  illuminated 
in  the  unique  fashion  of  the  Panama- Pacific 
International  Exposition. 

Former  exposition  lighting  consisted  of  a 
lavish  display  of  lighting  fixtures,  and  of  un- 
avoidable millions  of  glaring  bulbs,  the  number 
of  which  nobody  was  permitted  to  forget.  The 
offensive  glare  of  the  direct  light  had  to  be 
eliminated  to  preserve  that  feeling  of  tonality, 
of  restfulness,  so  impressive  in  daytime.  In 
other  words,  the  sources  of  all  lights  at  night 
have  been  concealed,  or  so  concentrated  that 
they  could  be  far  removed,  so  as  not  directly  to 
offend  the  eye.  The  effect  is  very  much  like 
the  flood  of  light  of  a full-moon  summer  night. 

In  speaking  of  the  rich  mellowness  of  the 
lighting  effect,  one  feels  again  compelled  to 
speak  of  the  travertine  stucco  as  the  artistic 
foundation  of  not  only  the  architecture,  sculp- 
ture, painting,  and  landscape  garden  effects, 
but  also  of  the  illuminating  effects  designed  by 
Mr.  W.  D’A.  Ryan,  and  executed  by  Mr. 
Guy  L.  Bayley.  Without  the  mellow  walls  and 

[69] 


THE  ILLUMINATION 
rich  orange  sculptural  details,  no  such  picture  of 
tonal  beauty  could  have  been  produced. 

It  is  difficult  to  single  out,  among  the  many 
suggestive  pictures,  the  most  alluring  one,  but 
I may  safely  say  that  the  first  half  hour  after  the 
close  of  day,  as  enjoyed  around  the  lagoon,  with 
the  Fine  Arts  Building  in  the  background,  re- 
flected in  the  waters,  will  linger  forever  in  the 
minds  of  all  who  are  privileged  to  see  it. 

Such  blues  I have  seen  only  in  pictures  by 
Maxfield  Parrish.  Combined  with  the  rich  gold 
of  the  colonnade,  they  are  almost  supernatural. 
The  whole  effect,  as  reflected  in  the  placid  sur- 
face of  the  lagoon,  occasionally  broken  here  and 
there  by  a slowly  moving  waterfowl,  or  the  pro- 
truding mouth  of  a carp,  is  inspiring,  and  must 
awaken  an  aesthetic  response  in  the  soul  of  the 
most  ordinary  mortal.  Very  quickly,  however, 
does  this  colorful  picture  change,  and  the  very 
intense  blue  of  the  early  evening  sky  rapidly 
changes  into  a colorless  black. 

The  Palace  of  Fine  Arts,  above  all  others, 
offers  many  wonderful  bits  of  enchantment  at 
night.  It  seems  to  have  been  thought  out  not 
only  for  its  daytime  effect  but  for  the  night  as 
well. 

Of  the  inner  courts,  those  with  larger  and 
smaller  bodies  of  water  are  most  effective  at 
night.  The  Court  of  the  Four  Seasons,  with 
its  placid,  shrub-encircled  pool,  is  doubly  inter- 
esting at  night.  The  four  wall-fountains  add 
much  to  the  outdoor  feeling  that  this  court 
possesses,  by  reason  of  the  suggestive  murmur 
of  the  waters,  descending  in  gentle  splashes 
from  bowl  to  bowl. 

[70] 


NIGHT  EFFECT  — COLONNADE  OF  PALACE  OF  FINE  ARTS 

BERNARD  R.  MAYBECK,  ARCHITECT 


THE  ILLUMINATION 

The  most  striking  court,  in  its  mysterious- 
ness, is  Mullgardt’s  Court  of  Abundance,  par- 
ticularly so  on  a foggy  night.  Large  volumes 
of  vapor  are  lazily  rising  from  huge  bowls  and 
torches,  below,  and  in  the  tower,  suggesting  the 
early  days  of  the  cosmic  All,  cooling  off  from  the 
turbulent  period  of  its  creation.  The  fogs 
sweeping  from  the  bay  add  more  mystery,  and 
with  the  gorgeous  perfume  of  the  hyacinth 
carpet  in  the  garden  spaces,  the  effect  is  almost 
narcotic.  The  whole  court,  under  these  con- 
ditions, seems  heavy  with  the  atmosphere  of 
abundance,  of  physical  well-being,  of  slumber- 
ing natural  powers. 

At  the  same  time,  it  is  truly  religious  in  its 
effect  of  turning  the  mind  away  from  the  ordi- 
nary world  into  the  realm  of  the  mystic  and  the 
supernatural.  I never  realized  what  our  San 
Francisco  fogs  could  produce  in  artistic  effects 
until  I visited  Mullgardt’s  court  on  a foggy  night. 
The  effect  of  the  fog  is  absolutely  ennobling. 

So  many  things  like  these,  possibly  not 
originally  thought  of,  have  added,  together  with 
the  illumination,  rare  charm  to  the  Exposition. 
Great  masses  of  pigeons,  attracted  by  the  light 
thrown  upon  the  two  great  groups  of  the  Nations 
of  the  West  and  of  the  East,  give  an  unusually 
inspiring  touch  to  the  Exposition  at  night.  The 
spectacle  of  these  graceful  birds  encircling  rhyth- 
mically the  great  sculptural  piles,  apparently 
enjoying  the  bath  of  light,  will  never  be  for- 
gotten. These  pigeons  seem  to  have  decided  to 
live  in  the  Exposition;  they  are  there  always, 
and  apparently  glad  to  play  their  part  in  the 
Exposition  ensemble. 


[71] 


I 


THE  ILLUMINATION 

The  lesson  of  the  Exposition  will  be  far 
reaching  in  its  many  demonstrations  of  the 
commercial  value  of  artistic  assets.  The  whole 
Exposition  is  really  a city-planning  exposition 
of  the  first  order.  Any  city-builder,  by  the 
respectful  use  of  the  great  fundamental  prin- 
ciples of  balance,  harmony,  and  unity,  cannot 
help  but  do  on  a large  scale  what  the  Exposition 
presents  in  a more  condensed  fashion.  I admit 
that  we  have  made  tremenduous  strides  in  the 
remodeling  of  many  of  our  large  cities,  particu- 
larly in  the  East,  but  we  are  still  constantly 
starting  new  cities  in  the  old  planless  way. 

Our  only  practical  and  lasting  effort  in  San 
Francisco  along  the  lines  of  civic  progress  has 
been  made  in  the  civic  center,  where  a far- 
reaching  plan  has  been  adopted  and  partly  put 
into  existence,  and  in  some  of  our  very  charming 
newer  restricted  residence  districts  in  the  west- 
ern end  of  the  city,  like  St.  Francis  Wood,  or  in 
Northbrae  and  Claremont,  in  Berkeley,  and 
elsewhere  around  the  bay. 

There  is  no  doubt  that  we  must  better  capi- 
talize our  own  artistic  assets,  which  we  often 
allow  to  lie  idle  before  we  ever  utilize  them 
properly.  The  water  front.  Telegraph  hill,  the 
ocean  shore,  Sutro  Heights,  and  Lincoln  Park 
are  all  waiting  to  be  developed  in  such  a way  as 
the  Exposition  suggests.  The  talk  of  cost  is 
idle  twaddle.  If  the  Exposition,  as  an  artistic 
investment,  pays — and  I see  no  reason  whatever 
why  it  should  not  pay  for  itself — then  we  cannot 
do  anything  better  than  to  invest  our  money 
wisely  in  other  artistic  improvements  of  a perma- 
nent character. 

[72] 


CONCLUSION 

San  Francisco  is  known  all  the  world  over  for 
its  unique  location,  rivaled  only  by  that  of  Mar- 
seilles, and  we  have  now  the  responsibility  to 
use  this  natural  asset,  for  which  many  envy  us. 
The  Exposition  will  start  an  avalanche  of  im- 
provements along  artistic  lines  which  will  be 
given  increasing  momentum  by  the  development 
of  long  periods  of  prosperity. 

The  most  urgent  need,  no  doubt,  is  the  estab- 
lishment of  a municipal  art  gallery  in  the  civic 
center,  the  only  ideal  place  for  it,  where  the 
workingman  from  the  Mission  and  the  merchant 
from  west  of  Van  Ness  avenue  will  find  it  equally 
convenient  of  access.  If  a smaller  number  of 
citizens  could  raise  the  money  for  a municipal 
opera  house,  there  should  be  no  trouble  in  getting 
funds  for  a building  devoted  to  a far  more  ex- 
tensive public  benefit,  like  an  art  gallery. 
People  generally  will  want  to  know  why  it  is 
that  certain  things  can  be  given  to  them  for  one 
year,  so  successfully,  and  why  it  should  not  be 
possible  to  have  them  with  us  permanently. 
The  inspiring  lesson  of  beauty,  expressed  so 
simply  and  intelligently,  will  sink  deep  into  the 
minds  of  the  great  masses,  to  be  reborn  in  an 
endless  stream  of  aesthetic  expression  in  the 
spiritual  and  physical  improvement  of  the  people. 

We,  out  here  in  the  West,  have  been  measur- 
ing the  tide  of  human  progress  in  biological 
terms.  We  have  almost  forgotten  the  days  of 
our  great  calamity,  and  still  speak  of  them  in 
that  typical  expression  of  apprehension  of  the 
“earthquake  babies.’’  Let  us  think  now  of  the 
future  and  its  bright  prospects,  inaugurated  so 
auspiciously  for  the  benefit  of  our  Exposition 
generation. 


173] 


APPENDIX 


GUIDE  TO  SCULPTURE 


SOUTH  GARDENS: 

Fountain  of  Energy  (center)  A.  Stirling  Colder 

Directly  opposite  the  main  entrance,  the  most  conspicuously 
placed  fountain  in  the  grounds.  The  four  major  figures  in  the 
bowl  represent  the  Pacific,  the  Atlantic,  and  the  two  Arctic  oceans. 
The  minor  eight  figures  suggest  the  marine  character  of  the  foun- 
tain. The  reclining  figures  on  the  sphere  typify  the  two  hemi- 
spheres. The  youth  on  horseback  represents  energy  and  strength. 

The  Mermaid  (fountains  in  long  pools)  Arthur  Putnam 

The  same  figure  is  used  twice,  near  the  Florticultural  Palace  on 
the  west  and  Festival  Hall  on  the  east. 

Equestrian  Statue,  “Cortez”  Charles  Niehaus 

Guarding  the  Tower  of  Jewels.  This  statue  represents  the  great 
Spanish  conqueror.  As  one  faces  the  tower,  this  figure  is  on  the  left. 

Equestrian  Statue  of  “Pizzaro”  Charles  Cary  Rumsey 

Similar  in  type  and  feeling  to  the  preceding  statue  on  the  right* 
in  front  of  the  Tower  of  Jewels. 

HORTICULTURAL  BUILDING: 

Frieze  at  Base  of  the  Spires  Eugene  Louis  Boutier 

Loose  arrangement  of  standing  female  figures  surrounding  the 
bases  of  the  spires  on  all  sides  of  the  Horticultural  Palace,  with 
no  other  meaning  than  that  of  decoration. 

Pairs  of  Caryatides  John  Bateman 

Architectural  vertical  members  supporting  the  pergola  around  the 
Horticultural  Palace.  Used  also  on  the  Young  Women’s  Christian 
Association  and  the  Press  buildings,  near  the  main  entrance. 

TOWER  OF  JEWELS: 

Statues  of  “Priest,”  “Soldier,”  “Philosopher,”  and  “Adventurer” 

John  Flanagan 

Four  figures  suggestive  of  the  forces  which  influenced  the  destinies 
of  our  country.  Very  big  in  scale — about  twice  life  size.  They 
are  standing  on  a row  of  columns  below  the  cornice  on  the  tower 
and  are  repeated  on  all  four  sides. 

The  Armored  Horseman  (Terrace  of  the  Tower)  F.  M.  L.  Tonetti 
A decorative  equestrian  statue  on  the  lower  terrace  of  the  tower 
above  the  preceding  figures — repeated  sixteen  times. 


[77] 


SCULPTURE 


TOWER  COLONNADES: 

Fountain  of  Youth  (east  end)  Edith  Woodman  Burroughs 

Snugly  placed  inside  the  abutting  walls,  east  of  the  Tower  of 
Jewels.  Naive  in  character  and  simple  in  treatment,  without  any 
further  symbolical  meaning  than  that  suggested  by  the  name. 
Motif  in  side  panels,  “Ship  of  Life.”  ' 

Fountain  of  El  Dorado  (west  end)  Mrs.  Harry  Payne  Whitney 
In  position  similar  to  the  preceding,  west  of  the  Tower  of  Jewels- 
A triptych  of  dramatic  expression,  naturalistically  treated. 

FESTIVAL  HALL: 

Figure  crowning  the  minor  Domes  Sherry  E.  Fry 

A standing  finial  figure,  on  the  minor  domes,  of  graceful  pose. 
Two  groups  in  front  of  the  Pylons  Sherry  E.  Fry 

Practically  conceived  as  wall  fountains,  they  are  composed  of  the 
figure  of  a girl,  suggesting  the  joy  of  life,  emphasized  by  young 
Pan,  with  a lizard,  at  the  base  on  the  left,  and  a seated  young  girl 
on  the  right. 

Cartouche  over  the  entrance  (figures  only)  Sherry  E.  Fry 

An  architectural  unit  over  the  big  arch  of  the  main  central  dome, 
outside  the  building,  for  decorative  effect. 

Reclining  figures  on  Pylons  Sherry  E.  Fry 

A male  and  a female  figure,  reclining,  crowning  the  architectural 
units  projecting  into  the  South  Gardens.  Suggestive  of  life  and 
pleasure. 

COURT  OF  PALMS: 

Equestrian  statue,  “The  End  of  the  Trail”  James  Earl  Fraser 
At  the  entrance  of  the  Court  of  Palms,  off  the  main  avenue  oppo- 
site the  Horticultural  Palace.  Symbolical  figure,  representing  the 
destinies  of  the  vanishing  red  race;  to  be  considered  in  connection 
with  the  “Pioneer”  at  the  entrance  of  the  Court  of  Flowers. 

The  Fairy  (Italian  Towers — Palms  and  Flowers)  Carl  Grupp 
A figural  termination  of  the  four  towers  guarding  the  entrances 
to  the  Courts  of  Palms  and  of  Flowers. 

Caryatides  John  Bateman  and  Mr.  Colder 

Winged  half-figure  in  the  attic-space,  repeated  all  around  the 
court. 

Spandrels  Albert  Weiner^ 

Reclining  decorative  figures  composed  into  the  triangular  spaces 
over  all  the  doorways  in  the  corridor. 

COURT  OF  FLOWERS: 

Equestrian  statue,  “The  Pioneer”  Solon  Borglum 

At  the  entrance  of  this  court.  Representing  the  white  man  and 
his  victorious  civilization.  (To  be  studied  with  “The  End  of  the 
Trail.”) 

[78] 


SCULPTURE 

Lions  (at  the  entrances)  Albert  Laesslie 

Very  conventional  architectural  decorative  animal  forms  at  the 
entrance  inside  the  Court  of  Flowers — used  six  times. 

The  Fairy  (above  the  Italian  Towers)  Carl  Gruppe 

[See  Fairy  under  Court  of  Palms  by  the  same  artist.] 

Central  Fountain,  “Beauty  and  the  Beast”  Edgar  Walter 

Decorative  fountain  inside  the  court,  with  crowning  figure  of 
a young  woman,  reposing  on  a fabulous  beast. 

Flower  Girls  (in  niches)  A.  Stirling  Colder 

Repeated  figures,  conventionally  treated,  of  young  women,  deco- 
rated profusely  with  flower  garlands,  in  the  attic  space. 

COURT  OF  ABUNDANCE: 

Groups  on  the  altar  in  the  main  tower  Chester  Beach 

These  groups  constitute  the  historical  composition  in  the  tower 
on  the  north  side  of  the  court.  Beginning  with  the  lower  one, 
they  represent  the  primitive  ages,  the  Middle  Ages,  and  modern 
times. 

Group  at  column  bases  and  finials  Leo  Lentelli 

Decorative  figures.  Used  four  times  at  the  base  of  the  shaft  near 
the  tower.  A single  finial  figure  of  a girl  with  a bow  is  used  on 
top  of  the  same  column. 

Fountain  of  the  Earth  (central  pool)  Robert  I.  Aitken 

An  architectural  composition  telling  the  story  of  human  life  in  its 
many  phases.  The  outstretched  arms  on  the  south  side  represent 
destiny  giving  and  taking  life. 

Figures  on  top  of  the  Arcade  Albert  Weinert 

Primitive  men,  with  the  pelican  and  deer;  the  mother  with  a 
child  is  repeated  all  around  the  court. 

Aquatic  Life  (north  extension)  Sherry  E.  Fry 

A figure  which  might  represent  Neptune’s  daughter.  This  figure 
stands  north  of  the  tower  in  the  open  space  toward  the  Marina 
below,  between  the  Palaces  of  Transportation  and  Mines. 

COURT  OF  THE  UNIVERSE: 

The  Nations  of  the  East;  The  Nations  of  the  West 

A.  Stirling  Colder y Leo  Lentelli,  and  Frederick  G.  R.  Roth, 
collaborators. 

Colossal  groups  on  top  of  the  two  great  arches,  representing  in 
many  types  Western  and  Eastern  civilization. 

Statues  on  columns  (eastern  and  western  arches)  Leo  Lentelli 
Winged  statues  standing  on  top  of  columns  on  the  inside  as  well 
as  the  outside  of  the  two  great  arches. 

Spandrels,  Pegasus  Frederick  G.  R.  Roth 

Triangular  compositions  spanning  the  arches,  repeated  on  both 
sides. 

[79] 


SCULPTURE 

Medallion  B.  Bufano 

Circular  decorations  of  male  figures  on  the  left  side  of  the  arch 
without  any  meaning  other  than  architectural  effect. 

Medallion  A.  Stirling  Cald<rr 

Same  as  above,  of  female  figures,  on  the  right  side  of  the  arches- 
The  Stars  (colonnades)  A,  Stirling  Odder 

Very  conventional  standing  figure,  with  hands  united  above  the 
head,  forming  a star  with  radiated  head-dress,  placed  on  the 
balustrades  of  buildings  adjoining  the  court  and  in  the  avenue 
leading  north  from  the  court. 

Frieze  on  corner  pavilions,  “Signs  of  the  Zodiac” 

Herman  A.  MacNeil 

Decorative  friezes  on  four  sides  of  the  four  corner  pavilions,  of 
mythological  character. 

Two  fountains,  “The  Rising  Sun”  and  “The  Setting  Sun” 

Adolph  A.  Weinman 

Two  columns  rising  from  fountain  bowls  and  crowned  by  winged 
figures,  of  a woman,  representing  the  Setting  Sun,  on  the  left,  and 
of  a winged  male  figure,  the  Rising  Sun,  on  the  right. 

Four  reclining  figures,  “The  Elements”  Robert  I.  Aitken 

At  the  head  of  the  stairs  leading  into  the  sunken  garden;  on  the 
left,  near  the  Music  Pavilion,  “Fire;”  on  the  right,  “Water;”  on 
the  left,  near  the  tower,  “Air;”  on  the  right,  “Earth.” 

Two  Groups  Paul  Manship 

Near  the  arches  at  the  head  of  the  steps,  two  figural  groups. 
One  is  of  female  figures,  suggesting  pleasure;  the  other,  music 
and  art. 

WESTERN  PLAZA,  IN  FRONT  OF  MACHINERY  PALACE: 

Monument,  “Genius  of  Creation”  Daniel  Chester  French 

Group  of  allegorical  figures,  suggestive  of  the  development  of 
the  human  race. 

COURT  OF  THE  FOUR  SEASONS: 

Four  groups  representing  “The  Seasons”  Furio  Piccirilli 

In  niches.  Southeast  corner,  “Winter;”  northeast  corner,  “Fall;” 
southwest  corner,  “Spring;”  northwest  corner,  “Summer.” 

The  Harvest  (above  the  half  dome)  Albert  Jaegers 

Seated  figure  with  a horn  of  plenty  and  other  agricultural 
emblems. 

Rain  and  Sunshine  (figures  on  columns)  Albert  Jaegers 

Standing  female  figures  on  columns  on  either  side  of  the  half 
dome.  Sunshine,  holding  a palm  branch,  is  on  the  left,  and 
Rain,  holding  up  a shell,  on  the  right. 

Groups,  “Feast  of  Sacrifice,”  on  the  pylons  in  the  forecourt. 

Albert  Jaegers 

[80] 


SCULPTURE 

The  two  groups  on  top  of  the  building,  in  which  huge  bulls  pre- 
dominate, led  by  a young  woman  and  a young  man;  very 
decorative. 

Fountain,  “Ceres”  Evelyn  Beatrice  Longman 

Situated  half  way  between  the  Court  of  the  Four  Seasons  and  the 
Marina,  in  an  avenue  leading  north;  architectural  in  character. 

Spandrels  (arcade)  August  Jaegers 

Reclining  female  figures  above  the  arches  at  the  west  and  east 
entrance  of  the  Court  of  the  Four  Seasons. 

Attic  figures  August  Jaegers 

Standing  decorative  figures  of  architectonic  feeling,  in  the  attic 
above  the  preceding  figures. 

VARIED  INDUSTRIES  PALACE: 

Tympanum  group  in  the  doorway  Ralph  Stackpole 

Groups  of  men  and  women  in  the  lunette  of  the  ornate  doorway 
on  the  south  side. 

Secondary  group,  doorway  Ralph  Stackpole 

Groups  above  the  preceding  one,  showing  Age  transferring  his 
burden  to  Youth. 

Figure  for  niches,  doorway  (man  with  the  pick)  Ralph  Stackpole 
A repeated  figure  of  a miner,  of  relatively  small  scale,  on  the 
consoles  in  the  doorway. 

Figure  for  keystone  in  doorway. 

A small  seated  figure  of  a laborer,  on  the  headstone  over  the 
doorway. 

Figure  for  niches,  on  the  east  fa§ade  of  this  Palace  and  Palace 
of  Mining  Albert  Weinert 

Standing  figure  in  niches  above  doors,  also  used  in  avenue  leading 
into  the  Court  of  Abundance  from  the  east. 

WEST  WALL  OF  THE  PALACES  (facing  Fine  Arts): 

Motifs  for  wall  niches  (“Triumph  of  the  Field”  and  “Abundance”) 

Charles  R.  Harley 

Seated  male  and  female  figures  surrounded  by  a great  wealth  of 
ernblematic  forms.  The  male  represents  “Triumph  of  the 
Field;”  the  female,  “Abundance.” 

Figures  on  columns  (flanking  the  half  domes):  Philosophy  and 
Physical  Vigor  Ralph  Stackpole 

A colossal  figure  of  a youth,  on  top  of  free-standing  columns  on 
the  west  wall  of  the  main  buildings. 

PALACE  OF  FINE  ARTS: 

Standing  figure,  inside  of  the  rotunda  on  top  of  columns 

Herbert  Adams 


[81] 


SCULPTURE 

Figures  in  the  attic  of  the  rotunda  Ulric  H.  Ellerhausen 

Standing  females  and  males  between  architectural  friezes  imme- 
diately below  the  cupola  of  the  dome. 

Frieze  on  the  altar  Bruno  Louis  Zimm 

Figural  frieze  at  the  base  of  the  rotunda  facing  the  Laguna  can 
only  be  seen  from  a great  distance  across  the  water. 

Relief  panels  for  the  rotunda  Bruno  Louis  Zimm 

Eight  panels  on  the  outside,  of  strictly  architectural  character, 
representing  a procession,  showing  the  development  and  influence 
of  art. 

Friezes  around  the  base  on  the  ground  Ulric  H.  Ellerhausen 

Figures  with  garlands,  used  everywhere  at  the  base  of  the  building. 
Figures  on  the  flower  boxes  Ulric  H.  Ellerhausen 

Standing  figures,  looking  inward,  representing  introspection. 
Kneeling  figure  on  the  altar  Ralph  Stackpole 

The  shrine  of  worship.  That  delicate  small  figure  seen  best 
from  across  the  laguna  in  front  of  the  rotunda. 

NORTH  FAgADE,  MAIN  GROUP  OF  EXHIBIT  PALACES; 

Figure  for  central  niches,  “Conquistador”  Allen  Newman 

A Spanish  soldier,  with  helmet  and  sword  and  a large  mantle. 

Figure  for  side  niches,  “The  Pirate”  Allen  Newman 

A coarsely  shaped  man,  in  small  niches  on  the  north  side  of  the 
main  buildings  near  the  preceding  one. 

COLUMN  OF  PROGRESS: 

Bas-relief  (four  sides  of  the  pedestal)  Isidore  Konti 

Four  allegorical  friezes  depicting  man’s  striving  for  achievement. 

Finial  group,  “The  Adventurous  Bowman,”  frieze  and  decoration 

Herman  A.  MacNeil 

Group  on  top  of  the  column,  suggesting  man’s  supreme  eflPort  in 
life. 

Supporting  frieze,  “The  Toilers.” 

PALACE  OF  MACHINERY: 

Figures  on  columns  (four  “Powers”)  Haig  Patigian 

Repeated  large  scale  figures  of  men,  representing  the  industries 
exhibited  within  the  building. 

Friezes  for  columns,  vestibule  Haig  Patigian 

Decorative  architectural  figure  compositions  of  similar  subjects. 

Spandrels  (two  pairs)  Haig  Patigian 

Reclining  figures  filling  out  the  triangular  spaces  above  the  doors 
in  the  vestibule  reflecting  the  purpose  of  the  building. 

PALACE  OF  EDUCATION: 

Repeated  figure  within  the  Half  Dome,  of  Thought  Albert  Weinert 
Standing  figure  of  a maiden  with  a scroll  inside  the  portal,  repeated 
eight  times. 

[82] 


SCULPTURE 

PALACE  OF  FOOD  PRODUCTS: 

Repeated  figure  within  the  Half  Dome,  “Physical  Vigor” 

Earl  Cummings 

Similar  to  that  above,  inside  the  Portal  of  Vigor,  showing  a stand- 
ing young  man,  with  an  oak  wreath. 

Friezes  and  figures  in  niches,  main  south  entrance  (portals  of  the 
Manufacturers  and  Liberal  Arts  Palaces)  Mahonri  Young 

Figures  representing  domestic  life  and  industries  like  foundry 
work,  smithing,  spinning,  and  sculpture.  Figures  in  the  niches: 
woman  with  spindles  and  men  with  hammers. 

Tympanum  panels  (north  and  south  entrances  of  the  Palace  of 

Education)  Gustave  Garlach 

Decorative  panels  above  the  doors  outside  of  the  building  show- 
ing maternal  instruction. 

Panels  inlaid  in  the  walls  over  the  minor  entrances 

Pupils  of  the  School  of  Sculpture  of  the  Society  of  Beaux  Arts 
Architects  and  National  Sculpture  Society. 

Decorative  panels  of  school  life  and  of  science. 

Figure,  “Victory,”  on  the  gables  of  the  palaces  Louis  Ulrick 
A winged  figure  used  on  top  of  all  the  palaces. 


183] 


MURAL  DECORATIONS 


COURT  OF  ABUNDANCE: 

Earth  Frank  Brangtvyn 

Northwest  corner  of  the  corridor,  two  panels:  grape-crushers  on 
the  left  and  fruit-pickers  on  the  right. 

Fire  Frank  Brangwyn 

Two  panels  in  the  northeast  corner  of  the  corridor.  Primitive 
Fire  on  the  left  and  Industrial  Fire  on  the  right. 

Water  Frank  Brangwyn 

Two  panels  in  the  southeast  corner  of  the  corridor.  Fountain 
motive  on  the  left  and  fishermen  hauling  nets  on  the  right. 

Air  Frank  Brangwyn 

Two  panels  in  the  southwest  corner  of  the  corridor.  In  the  left 
panel,  the  scent  of  hunters  carried  toward  their  prospective  prey. 
A windmill  on  the  right. 

COURT  OF  THE  FOUR  SEASONS: 

Spring  H.  Milton  Bancroft 

Two  murals  above  the  doorway  in  the  colonnade  (southwest 
comer).  To  the  left,  Spring;  to  the  right,  Seedtime. 

Summer  H.  Milton  Bancroft 

Two  murals  similar  to  those  in  the  northwest  corner  of  the  court. 
Fruition  on  the  right;  Summer  on  the  left. 

Autumn  H.  Milton  Bancroft 

In  the  northeast  corner  of  the  court,  two  panels:  Autumn  on 
the  right;  Harvest  on  the  left. 

Winter  H.  Milton  Bancroft 

Similar  in  location  to  the  preceding,  in  southeast  corner.  Two 
murals.  Festivity  on  the  right;  Winter  on  the  left. 

Man  Receiving  Instruction  in  Nature’s  Laws 

H.  Milton  Bancroft 

One  upright  panel,  in  the  half  dome  on  the  right. 

Art  Crowned  by  Time  H.  Milton  Bancroft 

On  the  left  opposite  the  preceding. 

EASTERN  ARCH,  COURT  OF  THE  UNIVERSE: 

Hope  and  Attendants:  On  the  north  wall  Edward  Simmons 

[84] 


THE  MURAL  DECORATIONS 

Historical  types  Edward  Simmons 

Representing  Greece,  Italy,  Spain,  England  and  France,  on  the 
south  wall. 

TOWER  OF  JEWELS: 

The  Atlantic  and  Pacific  in  the  center  William  de  Leftwich  Dodge 
The  Discovery  on  the  left;  the  Purchase  on  the  right. 

Gateway  of  all  Nations  (in  the  center)  William  de  Leftwich  Dodge 
Opposite  the  preceding.  Labor  Crowned  on  the  left,  and  Achieve- 
ment on  the  right. 

WESTERN  ARCH,  COURT  OF  THE  UNIVERSE: 

The  Westward  March  of  Civilization,  in  two  panels  by 

Frank  V.  DuMond 

Beginning  in  the  north  panel  and  continued  in  the  opposite  one. 

COURT  OF  PALMS: 

Fruits  and  Flowers  Childe  Hassam 

Painting  in  a lunette  over  the  entrance  into  the  Palace  of 
Education. 

The  Pursuit  of  Pleasure  Charles  Halloway 

A painting  of  the  same  shape  as  the  preceding,  over  the  entrance 
into  the  Palace  of  Liberal  Arts. 

The  Victorious  Spirit  Arthur  Mathews 

In  the  lunette  over  the  doorway  into  the  Court  of  the  Four 
Seasons. 

ROTUNDA,  PALACE  OF  THE  FINE  ARTS; 

The  Four  Golds  of  California  (Golden  Metal,  Wheat,  Citrus 
Fruits,  and  Poppies)  Robert  Reid 

In  the  ceiling  inside  the  rotunda. 

Art,  born  of  flame,  expresses  its  ideals  to  the  world  through 
music,  poetry,  architecture,  painting,  and  sculpture  Robert  Reid 
In  the  same  location. 

Birth  of  European  Art  Rober  Reid 

Belonging  to  the  preceding  group  of  eight  pictures  by  the  same 
artist. 

Birth  of  Oriental  Art  Robert  Reid 

In  groups  of  eight  paintings  in  the  rotunda  ceiling  as  given  above 

PENNSYLVANIA  BUILDING: 

Decorative  Paintings  Edward  Trumbull 

In  the  east  and  west  walls  of  the  center  court  of  the  building, 
showing  Penn’s  Treaty  with  the  Indians  on  the  right  and  Penn- 
sylvania Industries  on  the  left. 


[85] 


BIOGRAPHICAL  NOTES 


Adams,  Herbert 
Aitken,  Robert  I. 

Bacon,  Henry 
Bakewell  and  Brown 

Bateman,  John 

Bayley,  Guy  L. 

Beach,  Chester 

Bennett,  Edward 
Bitter,  Carl  T. 

Bliss  and  Faville 

Boberg,  Ferdinand 
Borglum,  Solon  H. 

[86] 


(Sculptor)  New  York.  Born  in  West  Concord, 
Vermont,  1858.  Studied  in  Paris.  Figures  on 
columns  inside  of  Rotunda,  Palace  of  Fine  Arts. 

(Sculptor)  New  York.  Born  in  San  Francisco, 
California,  1878.  Studied  in  Mark  Hopkins 
Institute,  San  Francisco,  and  Paris.  The  Four 
Elements,  in  Court  of  the  Universe,  and  Foun- 
tain of  Earth  in  Court  of  Abundance. 

(Architect)  New  York.  Born  in  Watseka,  Illi- 
nois, 1866.  Studied  at  the  University  of  Illi- 
nois and  in  Europe.  Court  of  the  Four  Seasons 

(Architects).  John  Bakewell,  Jr.,  San  Fran- 
cisco. Born  in  Topeka,  Kansas,  1872.  Studied 
at  the  Beaux  Arts,  Paris.  Arthur  Brown,  Jr. 
San  Francisco.  Born  in  Oakland,  California, 
1874.  Studied  in  the  University  of  California 
and  at  the  Beaux  Arts  in  Paris.  Horticultural 
Palace. 

(Sculptor)  New  York.  Born  in  Cedarville, 
New  Jersey,  1877.  Studied  in  the  School  of 
Industrial  Arts,  Philadelphia,  and  in  Paris. 
Caryatides  outside  of  Horticultural  Building. 

(Electrical  Engineer)  San  Francisco.  Born  in 
Vacaville,  California,  1875.  Studied  at  Uni- 
versity of  California.  Chief  of  Electric  and 
Mechanical  Department. 

(Sculptor)  New  York.  Born  in  San  Francisco, 
California,  1881.  Studied  in  Paris,  New  York 
and  Rome.  Groups  on  tower  on  Court  of 
Abundance. 

(Architect)  Chicago.  Preliminary  Plans,  of 
Exposition. 

(Sculptor).  Born  in  Vienna,  Austria,  1867. 
Died  April  10,  1915,  New  York.  Studied  at 
Vienna  Academy  of  Fine  Arts.  Chief  of 
Sculpture. 

(Architects)  Walter  D.  Bliss,  San  Francisco. 
Born  in  Nevada,  1868.  Studied  in  the  Massa- 
chusetts Institute  of  Technology  and  abroad. 
William  B.  Faville,  San  Francisco.  Born  1866. 
Studied  in  the  Massachusetts  Institute  of 
Technology.  Main  Buildings  forming  center 
unit  of  eight  Palaces. 

(Architect)  Stockholm.  Born  in  Falun,  Swe- 
den, 1860.  Swedish  Building. 

(Sculptor)  New  York.  Born  in  Ogden,  Utah, 
1868.  Studied  in  Art  Academy  of  Cincinnati 
and  in  Paris.  The  Pioneer. 


BIOGRAPHICAL  NOTES 


Bourgeois,  Jean  Louis 


Boutier,  Eugene  Louis 
Brangwyn,  Frank 

Bufano,  B. 

Burditt,  Thomas  H. 

Burroughs,  Mrs.  Edith 
Woodman 

Calder,  a.  Stirling 


Carrere  and  Hastings 


Cummings,  M.  Earl 


Denneville,  Paul  E. 


Dodge,  William 
DE  Leftwich 

DuMond,  Frank  V 
Ellerhusen,  Ulric  H. 


(Architect).  Born  in  Autun,  France,  1876. 
Died  February  26,  1915,  in  France.  Collabo- 
rated with  Bakewell  and  Brown  in  Horticul- 
tural Building  design. 

(Sculptor).  Frieze  at  Base  of  Spires  on 
Horticultural  Building. 

(Painter)  London.  Born  in  Bruges,  Belgium, 
1867.  Mural  paintings  of  the  Four  Elements 
in  the  Court  of  Abundance. 

(Sculptor)  New  York.  Medallions  on  the 
arches  in  Court  of  the  Universe. 

(Architect)  San  Francisco.  Born  in  Nellore, 
India,  1886.  California  State  Building. 

(Sculptor)  Flushing,  Long  Island.  Bom  in 
Riverdale-on-Hudson,  1871.  Studied  in  Art 
Students  League  of  New  York  and  in  Paris. 
Fountain  of  Youth. 

(Sculptor)  New  York.  Born  in  Philadelphia, 
1870.  Studied  in  Pennsylvania  Academy  of 
Fine  Arts  and  in  Paris.  Acting  Chief  of  Sculp- 
ture. Fountain  of  Energy;  The  Star  in  Court 
of  the  Universe;  Flower  Girl  in  Court  of  Flow- 
ers; Nations  of  the  East,  Nations  of  the  West, 
in  collaboration  with  F.  Roth  and  Leo  Lentelli. 

(Architects)  John  M.  Carrere,  deceased. 
Thomas  Hastings,  New  York.  Born  New 
York,  1860.  Studied  in  Beaux  Arts,  Paris. 
Tower  of  Jewels. 

(Sculptor)  San  Francisco.  Born  in  Salt  Lake 
City,  Utah,  1876.  Studied  in  San  Francisco 
and  Paris.  Repeated  figure  in  Portal  of  Vigor, 
Palace  of  Food  Products. 

(Architectural  Sculptor)  New  York.  Born  in 
Ancy,  France,  1873.  Studied  Cooper  Institute 
New  York,  and  abroad.  Travertine  finish  of 
buildings. 

(Mural  Painter)  New  York.  Born  in  Liberty, 
Virginia,  1867.  Studied  in  Munich  and  Paris. 
Two  Murals  in  Tower  of  Jewels. 

(Painter)  New  York.  Born  in  Rochester,  New 
York,  1865.  Studied  in  Paris.  Two  Murals 
in  arch  of  Setting  Sun. 

(Sculptor)  New  York.  Figures  in  attic  of 
Rotunda  and  repeated  friezes  at  base  of  Fine 
Arts  Building. 

FaROTTRAR  ForFRT  DaVTD  (Architect)  Los  Angeles.  Born  in  Brookline, 
r AK^UHAR,  i5.0BLRT  UfAVID  Massachusetts,  1872.  Studied  at  Harvard  and 

at  Beaux  Arts,  Paris.  Festival  Hall. 

(Sculptor)  New  York.  Born  in  Newark,  New 
Jersey,  1865.  Studied  in  Boston,  New  York 
and  Paris.  Figures  on  Tower  of  Jewels. 

(Sculptor)  New  York.  Born  in  Winona,  Min- 
nesota, 1876.  Studied  in  Paris.  The  End  of 
the  Trail. 


Flanagan,  John 
Fraser,  James  Earle 


[87 


BIOGRAPHICAL  NOTES 


French,  Daniel  Chester  Si: 

York  and  Florence.  Genius  of  Creation. 


Fry,  Sherry  E. 


(Sculptor)  New  York.  Born  in  Creston,  Iowa, 
1879.  Studied  in  Art  Institute,  Chicago,  and 
in  Paris.  Figural  decorations  on  Festival  Hall. 


Garlach,  Gustave 

Garnett,  Porter 

Gruppe,  Carl 
Guerin,  Jules 

Halloway,  Charles 
Harley,  Charles  R. 

Hassam,  Childe 
Hornbostel,  Henry 
Howard,  John  Galen 

Jaegers,  Albert 

Jaegers,  August 
Kelham,  George  W. 

Konti,  Isidore 
Laesslie,  Albert 


(Sculptor)  Weehawken,  New  Jersey.  Tympa- 
num panels  north  and  south  entrances  Palace 
of  Education. 

(Writer)  Berkeley.  Born  in  San  Francisco, 
California,  1871.  Selection  of  inscriptions  on 
monuments  and  arches. 

(Sculptor)  New  York.  Fairy  figure  on  Italian 
towers. 

(Painter)  New  York.  Born  in  St.  Louis,  Mis- 
souri, 1866.  Studied  in  America  and  abroad. 
Director  of  color  and  decoration.  Color 
scheme. 

(Painter).  Lunette,  The  Pursuit  of  Pleasure, 
in  Court  of  Palms. 

(Sculptor)  New  York.  Born  in  Philadelphia, 
Pennsylvania,  1864.  Studied  in  Pennsylvania 
Academy  of  Fine  Arts  and  in  Paris.  “The 
Triumph  of  the  Field”  and  “Abundance,”  on 
west  facade  of  main  buildings. 

(Painter)  New  York.  Born  in  Boston,  Massa- 
chusetts, 1859.  Studied  in  Paris.  Lunette, 
Fruits  and  Flowers,  in  Court  of  Palms. 

(Architect)  New  York.  Born  in  Brooklyn, 
New  York,  1867.  Studied  in  New  York  and 
Paris.  Pennsylvania  State  Building. 

(Architect)  Berkeley.  Born  in  Chelmsford 
Massachusetts,  1864.  Studied  in  Boston  and 
Beaux  Arts,  Paris.  Exposition  Auditorium  in 
the  Civic  Center  in  collaboration  with  Fred- 
erick Meyer  and  John  Reid,  Jr. 

(Sculptor)  New  York.  Born  in  Elberfeld, 
Germany,  1867.  Studied  abroad.  Figures  of 
Harvest,  Rain  and  Sunshine,  and  Bulls  in 
Court  of  Four  Seasons. 

(Sculptor)  New  York.  Born  in  Barmen,  Ger- 
many, 1878.  _ Studied  in  Paris.  Spandrels  and 
attic  figures  in  Court  of  Four  Seasons. 

(Architect)  San  Francisco.  Born  in  Man- 
chester, Massachusetts,  1871.  Studied  at 
Harvard.  Director  of  Architecture.  Courts  of 
Palms  and  Flowers. 

(Sculptor)  New  York.  Born  in  Vienna,  Aus- 
tria, 1862.  Studied  in  Imperial  Academy, 
Vienna.  Frieze  at  base  of  Column  of  Progress, 

(Sculptor)  Philadelphia.  Born  in  Philadel- 
phia, Pennsylvania,  1877.  Studied  in  Phila- 
delphia. Lions  in  Court  of  Flowers. 


[88] 


BIOGRAPHICAL  NOTES 


Lentelli,  Leo 


(Sculptor)  New  York.  Born  in  Bologna,  Italy, 
1879.  Figures  on  decorative  shafts  in  Court  of 
Abundance;  Nations  of  the  East  and  Nations 
of  the  West  in  collaboration  with  Stirling 
Calder  and  Frederick  Roth. 


Longman,  Miss  Evelyn 
Beatrice 


(Sculptor)  New  York.  Born  in  Winchester, 
Ohio,  1874.  Studied  in  Chicago  and  New 
York.  Fountain  of  Ceres. 


Lundborg,  Florence 


(Painter)  San  Francisco.  Born  in  San  Fran- 
cisco. Studied  in  San  Francisco  and  in  Paris. 
Mural  decorations  in  Tea  Room  of  the  Cali- 
fornia Building. 


McKim,  Mead  and 
White 

McLaren,  John 


(Architects)  New  York.  Living  members  of 
the  firm:  William  R.  Mead.  Bom  in  Battle- 
boro,  Vermont,  1846.  Studied  at  Amherst  and 
in  Europe.  W.  Symmes  Richardson.  W. 
Mitchell  Kendall.  Court  of  the  Universe. 

(Landscape  Engineer)  San  Francisco.  Born 
in  Scotland.  Horticultural  effects. 


MacNeil,  Hermon  a. 
Manship,  Paul 


(Sculptor)  New  York.  Born  in  Everett, 
Massachusetts,  1866.  Studied  in  Boston  and 
Paris.  Adventurous  Bowman  and  frieze  of 
Toilers  on  Column  of  Progress. 

(Sculptor)  New  York.  Groups  in  Court  of 
Universe. 


Mark  WART,  Arthur 

Mathews,  Arthur  F. 
Maybeck,  Bernard  R. 
Meyer,  Frederick 

Mullgardt,  Louis 
Christian 

Nahl,  Perham  W. 

Newman,  Allen  G. 
Niehaus,  Charles  H. 
Patigian,  Haig 


(Engineer)  San  Francisco.  Born  in  Illinois, 
1880.  Studied  at  University  of  California. 
Assistant  Chief  of  Construction.  Structural 
design  of  Machinery  Palace. 

(Painter)  San  Francisco.  Born  in  Wisconsin, 
1860.  Studied  in  Paris.  Lunette,  the  Victo- 
rious Spirit,  in  Court  of  Palms. 

Architect)  San  Francisco.  Born  in  New 
York,  1862.  Studied  in  Beaux  Arts,  Paris. 
Palace  of  Fine  Arts. 

(Architect)  San  Francisco.  Born  in  San  Fran- 
cisco, California,  1875.  Studied  in  America. 
Exposition  Auditorium  in  Civic  Center  in 
collaboration  with  John  Galen  Howard  and 
John  Reid,  Jr. 

(Architect)  San  Francisco.  Bom  in  Wash- 
ington, Missouri,  1866.  Studied  at  Harvard. 
Court  of  the  Ages,  also  named  Court  of  Abun- 
dance. 

(Painter)  Berkeley.  Born  in  San  Francisco, 
California,  1869.  Studied  in  Hopkins  Insti- 
tute, San  Franci.sco,  and  in  Europe.  Expo- 
sition Poster,  “The  Thirteenth  Labor  of 
Hercules.” 

(Sculptor)  New  York.  Born  in  New  York, 

1875.  Pupil  of  J.  Q.  A.  Ward.  Conquistador 
and  Pirate  on  north  facade  main  buildings. 

(Sculptor)  New  Rochelle,  New  York.  Born 
in  Cincinnati,  Ohio,  1855.  Studied  in  Cincin- 
nati and  Munich.  Cortez. 

(Sculptor)  San  Francisco.  Born  in  Armenia, 

1876.  Studied  in  Paris.  Decorations  of 
Machinery  Hall. 

[89] 


PiCCIRILLI,  FuRIO 


Polk,  Willis 
Putnam,  Arthur 
Reid,  John,  Jr. 

Reid,  Robert 
Rosse,  Hermann 


BIOGRAPHICAL  NOTES 

(Sculptor)  New  York.  Born  in  Massa,  Italy, 
1866.  Pupil  of  Accademia  San  Luca,  Rome. 
Groups  of  Four  Seasons  in  Court  of  the  Four 
Seasons. 

(Architect)  San  Francisco.  Preliminary  plans 
of  Exposition. 

(Sculptor)  San  Francisco.  Born  in  New  Or- 
leans, 1874.  Mermaid  in  South  Gardens. 

(Architect)  San  Francisco.  Born  in  San  Fran- 
cisco, 1880.  Studied  in  the  University  of 
California  and  the  Beaux  Arts,  Paris.  Expo- 
sition Auditorium  in  Civic  Center  in  collabo- 
ration with  John  Galen  Howard  and  Frederick 
Meyer. 

(Painter)  New  York.  Born  in  Stockbridge, 
Massachusetts,  1862.  Studied  in  Boston,  New 
York,  and  Paris.  Decorations  in  Rotunda  of 
Fine  Arts  Palace. 

(Designer  and  decorator)  Palo  Alto.  Born  in 
The  Hague,  Holland,  1887.  Studied  at  The 
Hague,  at  Delft,  Holland,  and  South  Ken- 
sington, London.  Decorative  color  scheme 
and  mural  painting  in  Netherlands  Building. 


Roth,  Frederick  G.  R. 


(Sculptor)  Englewood,  New  Jersey.  Born  in 
Brooklyn,  New  York,  1872.  Studied  in  Vienna, 
Nations  of  the  East  and  Nations  of  the  West 
in  collaboration  with  Stirling  Calder  and  Leo 
Lentelli. 


Rumsey,  Charles  Cary  (Scuiptor)  New  York.  Pizarro. 


Ryan,  Walter  D’Arcy 


(Electrical  Engineer)  San  Francisco.  Bom  in 
Kentville,  Nova  Scotia,  1870.  Educated  in 
Canada.  Chief  of  Illumination.  Lighting 
scheme. 


Simmons,  Edward 
Stackpole,  Ralph  W. 


(Mural  Painter)  New  York.  Born  in  Concord, 
Massachusetts,  1852.  Studied  in  Paris 
Murals  in  Arch  of  the  Rising  Sun. 

(Sculptor)  San  Francisco.  Born  in  Oregon, 
1885.  Studied  in  Paris.  Kneeling  figure  in 
front  of  Fine  Arts  rotunda.  Figures  on  col- 
umns flanking  Portal  of  Thought  and  Portal  of 
Vigor.  Figures  in  doorway  of  Palace  of 
Varied  Industries. 


Tonetti,  F.  M.  L. 
Trumbull,  Edward 

Ulrick,  Louis 


(Sculptor)  New  York.  Born  in  Paris,  France, 
in  1863.  Studied  in  Paris.  Armored  horse- 
man on  Tower  of  Jewels. 

(Painter)  Pittsburgh.  Born  in  Stonington, 
Connecticut,  in  1884.  Mural  decorations, 
Penn’s  Treaty  and  Pittsburgh  Industries,  in 
Pennsylvania  Building. 

(Sculptor)  New  York.  Winged  Victory  on 
gables  of  all  palaces. 


Walter,  Edgar 


(Sculptor)  San  Francisco.  Born  in  San  Fran- 
cisco, in  1877.  Studied  in  Paris.  Fountain  of 
Beauty  and  the  Beast  in  Court  of  Flowers. 


[90] 


BIOGRAPHICAL  NOTES 

At  RFTIT  (Sculptor)  New  York.  Born  in  Leipzig,  Ger- 

* many,  in  1863.  Studied  in  Leipzig  and  Brus- 

sels. Spandrels  in  Court  of  Palms;  Deco- 
rative finial  figure,  in  Court  of  Abundance 
repeated  figure  in  Portal  of  Thought,  etc. 


Weinert 


Weinman,  Adolph  A. 


(Sculptor)  New  York.  Born  in  Karlsruhe, 
Germany,  in  1870.  Studied  in  Art  Students 
League,  New  York.  Rising  and  Setting  Sun. 


Ward  and  Blohme 


(Architects)  Clarence  R.  Ward,  San  Francisco. 
Born  in  Niles,  Michigan,  in  1870.  Studied  in 
America.  J.  H.  Blohme,  San  Francisco.  Born 
in  San  Francisco  in  1878.  Studied  in  America. 
Machinery  Palace. 


^^HITNEY,  Mrs.  Harry  (Sculptor)  New  York.  Fountain  of  El  Dorado 

Payne 


Young,  Mahonri 
ZiMM,  Bruno  Louis 


(Sculptor)  New  York.  Born  in  Salt  Lake 
City,  Utah,  in  1877.  Studied  in  New  York 
and  Paris.  Frieze  over  main  portals  Manu- 
facturers and  Liberal  Arts  Palaces. 

(Sculptor)  New  York.  Frieze,  Rotunda,  Fine 
Arts  Building. 


[91] 


\I  NTERN  ATIONA  L 
\ • EXP O S ITl ON^ 

SAN  FRANCISCO  - 1919 


OFFICIAL  POSTER 

PERHAM  W.  NAHL 


THE  ART  OF  THE  EXPOSITION,  BY  EUGEN 
NEUHAUS,  PUBLISHED  BY  PAUL  ELDER  AND 
COMPANY,  SAN  FRANCISCO,  WAS  PRINTED 
AT  THEIR  TOMOYE  PRESS,  UNDER  THE 
DIRECTION  OF  JOHN  SWART,  IN  MAY  AND 
REPRINTED  IN  JUNE  NINETEEN  HUNDRED 
AND  FIFTEEN 


